TT 



Cutting and Draping 



By JOHN W. STEPHENSON 







CLIFFORD & LAWTON 

NEW YORK: 19 UNION SQUARE 





Class -XE^fl 
Book _ 

Copyright^? 



COPYRIGHT DEPOSIT. 



i 



Cutting and Drapin 



A PRACTICAL HANDBOOK FOR 
UPHOLSTERERS and DECORATORS 



OVER TWO HUNDRED AND FIFTY DIAGRAMS AND ILLUSTRATIONS 



By JOHN W. STEPHENSON 



CLIFFORD & LAWTON 

19 UNION SQUARE, NEW YORK 



v/C 



LIBRARY ot CONGRESS 
Two Copies Received 

NOV 24 1905 

Copyrljht Entry 
CUSS, CK. XXc. No. 

copy e. 



A 









TABLE OF CONTENTS. 

French Festoon Drapery, 

Irregular Festoon Drapery, 

Flat Valances or Lambrequins, 

Pleated Valances or Lambrequins, 

Piano and Mantel Draperies, 

Scarf Draperies, 

Festival Decorations, 

Lace Curtains, 

Window Shades and Blinds, 

Archways and Alcoves, 

Portieres and Appliques, 

Bed Draperies, 

Traverse, Drop and Theatre Curtains, 

Interior Grouping, Cosey Corners, Wall 

Awnings and Veranda Curtains, 

The Application of Grille Work, 

Workroom Auxiliaries, . 



Hangings 



3 

7 
1 1 

'5 

19 

^3 

26, 31 

35 
39.43 
47.51 
53 
57 
65 
69 

73 

77 
81 



Copyright, igoj, by Clifford & Law ton. 



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FRENCH 



FESTOON 



D R A P F R Y 




HE art of draping is 
nearly as old as is the 
manufacture of fab- 
rics. And artists 
and craftsmen of all 
ages have taxed their 
ingenuity to produce 
ideas unique, original, 
out of the ordinary 
— with varied success. 
Of the myriad of 
designs and treat- 
ments thus produced some of the more pleasing have 
stood the test of time. 

One of the survivors is that generally known as 
" French festoon drapery," which, by reason of its 
voluminous pleats and scallops, presents a showy ap- 
pearance in almost any class of fabrics. To measure, 
plan and cut this style of drapery is one of the first 
problems that confronts the would-be decorator and 
drapery artist, ^nd to make plain the method success- 
fully hsed by the writer is the purpose of this article. 
Of course to the practical decorator such close dis- 
cussion of details is irksome ; but it is for the novice 
that I write. (See diagrams on opposite page.) 

Figure i is an example of straight festoon dra- 
pery, the right side in skeleton to more clearly show 
the figures. To measure a door or window for this 
style it is necessary to have the extreme width of the 
space to be draped (5-0), the distance from the top of 
wood trim to floor (8-0) and the distance from the top 
of trim to ceiling (2-0). This is to determine the gen- 
eral proportion of the various parts in planning the 
complete treatment. Always measure with rule, get- 
ting the width measurement at the floor line and the 
height measurements from a ladder, and put them 
down as soon as taken. Don't trust anything to 
memory ! A three-foot folding pocket rule is a splen- 
did all-round measure, as it comes in nine-inch sections 
(quarter yards) and the length gives it a decided ad- 
vantage over the old-fashioned two-foot rule. 

When these measurements have been secured 
take a piece of paper sufficiently large to lay out the 
dimensions of the space to a scale of say one inch to 
the foot, and on it sketch the style of the drapery you 
wish to produce. 

Bear in mind that the purpose of draperies is to 



relieve the austerity of the straight wood lines, and to 
dress or furnish an otherwise bare space, not to make 
an ostentatious display of fabrics. Moreover, the dis- 
play must be practical as well as decorative. If a 
window is low and a drapery carried out in proportion 
would be so low as to exclude the light or interfere 
with the vision, the usual rule must be departed from 
and the drapery raised to a greater height. The 
proper elevation our third measurement will enable 
us to easily determine. 

Again, if we are planning a door, we must allow 
sufficient distance from the floor to the lowest point 
of the festoons for an ordinary person to pass or stand 
beneath without stooping. In practice it is seldom 
well to leave less than six feet six ; but of course dif- 
ferent designs call for different execution. 

In planning for styles similar to Figure 1 the 
general rule is to allow the lowest point of the tails to 
drop one half the distance to the floor and the lowest 
■festoon one half the length of the tail. Having deter- 
mined the style and size of the drapery on the plan, 
correct the general outline till it conforms nicely to 
your idea and the requirements of the space, and 
measure it as follows : Take a flexible rule (a six-inch 
celluloid pocket rule makes a splendid article for this 
purpose, and can be obtained from celluloid novelty 
manufacturers) and, making it conform to the shape 
of the bottom line of the festoon, note the measure- 
ment A to B (Figure 1), and record it as also the 
line C to D ; measure all the curved outlines 
on the plan in like manner and record the various 
distances. 

Now measure the space covered by the pleated 
ends of the festoons and the distances between, as one 
to two, two to three, three to four, Figure 1, and the 

distance from X, the lowest point of the line C D 

to X, the lowest point of the line A B, record the 

distance in feet and inches (two and one-half inches on 
the plan representing two feet six inches), for con- 
venience in cutting later on; for the tails measure only 
the straight lines represented by the points E to F, 
G to H, E to Gand I to H. 

You are now ready to cut the festoons, and unless 
there is a likelihood of a number of festoons being 
needed exactly the same size, we can dispense with a 
pattern and cut direct from the measurement ; but I 
would advise the novice to start on inexpensive ma- 



\ 



FRENCH FESTOON DRAPERY 



terial, like shaker or canton flannel, until he is sure of 
his ground. 

Lay the goods on the table, face down, with the 
end to — and even with — the side of the table, in front 
of you. The pattern, if any, should run from you, 
and in the case of pile goods the nap should run 
toward you. Smooth the goods out sufficiently to 
transfer the complete measurements without read- 
justing. Take a piece of soft white crayon, and mark 
off on the end of the goods nearest you the distance 

between the points A B on your scale plan, using 

the end of the goods as your line (Figure 2). If the 
width of the goods is not sufficient, as in this case, 
mark the points on the table, at equal distance from 

each selvage. (See A B, Figure 2.) Now at X 

the centre of the line or end of goods, strike a per- 
pendicular line X X at right angles to the edge of 

table and end of goods and as long as twice the dis- 
tance from A B to C D in Figure 1. This 

allows as much again for fulness — a safe allowance 
for nearly all purposes, but governed to some extent 
by the nature of the goods. Soft materials like art 
silks, silkolines and other light-weight drapery stuffs 
require a little more. 

At the top of this perpendicular line X X, 

Figure 2, draw a horizontal line parallel to the bottom 
line and nearly as long (or, if it is the last cut in the 
goods, right across the goods, leaving a straight end), 

and on it, with X as a centre, mark the points C D 

equidistant. 

With one point of a pair of dividers at A and one- 
third of the distance from A to X as a radius describe 
a quarter circle from the line, 1 1 Figure 2, and re- 
peat at B, 2 2 Figure 2. Then with point of 

dividers at X and A B as radii strike a semi-circle 

to bisect the two smaller circles at points E E, 

rule from these two points to X on the bottom line 
and also to points C and D on the top line. This 
gives us the general shape of the festoon, but the 
lines must be rounded a little at the bottom and sides 
and allowance left for straightening the pleated ends. 
(See dotted lines, Figure 2.) And if, as is the case in 
Figure 2, the width of the goods is less than the dis- 
tance between the points E E, the corners must be 

pieced out of the pieces F F. 

In cutting the sides, as dotted lines Figure 2, 
allow about three inches extra at top and bottom and 
hollow at centre to one and one-half inches from 

straight lines E D and E C, round the bottom 

as curved dotted line, with greatest swell at about one- 
third of the distance from X. This gives us our per- 
fect festoon pattern, with three inches allowance at 
each side for trimming off after pleating. 

To lay out the plan for the tail it is more econom- 
ical to use a paper pattern ; take a large piece of paper 
and lay on the table with the longest edge parallel 
with the edge of the table nearest you. From the end, 



as point F, which should beat the corner of the table, 
mark the point E the same distance as on the scale 
drawing you have, also the point I about half way 
between. With this as a basis locate the points G 
and H according to measurement and draw the full 
sized plan of tail as denned by these points, Figure 3, 
solid lines. 

Locate the point J where the lines E F and 

G H would intersect if continued (the distance J 

is from E governs the amount of flare in the bottom 
of the tail, farther meaning less flare and closer mean- 
ing more). With J as a centre, make with cord and 
chalk circling lines to intersect with each point of the 

raking edge, 1 1, 2 2, 3 3, 4 4, 5 5, 

and 6 6, also one at H and at E, making the line 

longer as you go towards the top of the tail. 

With point of dividers at F and I as a radius allow 
a couple of inches extra for fold and strike to intersect 
line I at 1 X, measure from 1 to 2 and using 1 X as centre 
locate the point 2X on line 2, and locate the other 
intersecting points 3X, 4X, 5X, 6X and HX in 
like manner, always allowing the two inches extra for 
folding, rule from F to iX, iX to 2X, to 3X, to 4X, 
to 5X, to 6X, to HX, as dotted line indicates, and also 
from HX to J to locate GX on line E, and from points 
iX, 2X, 3X, 4X, 5X and 6X to J, to find the points 

iA, 2A, 3A, 4A, 5A and 6A on line E E. These 

last should be notched out in pattern to mark goods 

for folding. Cut out along the raking edge F iX, 

2X, and so on, from H to G and the sweep E to GX, 
and the pattern is complete. As our pattern stands, 
Figure 3, it is a left-handed pattern ; mark this side 
(Left) and turn face down on the table and mark the 
other side (Right) and always remember to turn over 
the pattern in cutting a pair, so as to make right 
and left tails. To cut out lay the pattern on the 

face side of goods with the line HX GX parallel 

with the selvage and piece out the point if necessary. 
When all cut and pieced out complete, spread the 
pattern out over it and mark the points iX, 2X, 3X, 

etc., and also the notches on line E E, iA, 2A, 

3A and so on. With the edge E F parallel with 

the edge of the table in front of you catch points 2X 
and 2A, one in each hand, and draw toward you till 

fold is made at iX- iA. Take 4A and 4X in like 

manner and repeat till all are folded. A glance at 
Figure 3 B will explain the method. Trim the top 
square, and the tail is complete. To pleat up the fes- 
toon requires a little more care, but facility is easily 
acquired with a little practice. 

Mark off on a horizontal board (see Figure 4) the 
dimensions of the completed festoon, as indicated 
on the scale drawing, Figure 1, points one, two, 
three, four, and put a large tack in each of these points 
as a guide, also about six inches above each point 
place another, which can be seen when the others are 
covered up with the goods. Temporarily attach 



FRENCH FESTOON DRAPERY 



corner D of the festoon to point three and corner C at 
point two, allowing in each case about three inches to 
project above the line. The centre of the goods be- 
tween these two points lay back toward the board to 
form the top pleat, Figure 4, and the lowest point of 

this pleat should correspond with the top line C D 

on the scale drawing, Figure 1. If it is lower or 
higher than the drawing calls for it should be properly 
adjusted until it is correct. In this case, Figure 1, 
there is a distance of three inches from bottom of pole 
to X on line C D. 

In adjusting be careful to keep the goods perfectly 
centred, or you will not get nice pleats. Now divide 
the remaining space from three to four and two to 
one into as many spaces as you intend to make pleats. 
In this case (the general rule) there are six. So you 
need six spaces, the last pleat (which is being put up, 
Figure 4) covering two spaces. Having divided the 
distance, now with the left hand pinch up the goods 
about one-fifth of the distance from fold already made 
and with the right hand grasp the biased edge 

D B, Figure 4, and form a pleat toward the point 

D, adjust till the fold follows naturally around from 
one hand to the other without drawing, and tempor- 
arily tack it in place on the line in its space. Take the 

left bias edge, A C, and make this fold follow 

around to the point where it should attach in the first 

space to the left on the line one two. These folds 

should follow around from one end to the other with- 
out pulling or buckling, and will need to be helped at 
first by the disengaged hand until the fold is com- 
plete. 

Pleat up all the remaining goods in this manner 
and tack each fold to the line, being sure that each 
fold goes around clearly without in any wise interfer- 
ing with the hang of the previous one and using the 
same quantity of goods each time. 

This will not come easily at first, but follow the 
method illustrated in Figure 4, and practice will do the 
rest. 

The last fold covers two spaces and completes 
the festoon. If you have too much fullness for the 
last fold go over the rest and take up a little more for 
pleating them. If the distance from the centre of top 
line to the centre of bottom line does not correspond 
with the distance on the plan, you will have to raise or 
lower the pleating until it is the same. Leave the 
points C D attached and adjust each pleat separ- 
ately till the desired result is obtained. 

Now, if the ends are to be joined over a pole, as 
in Figure 1, allow three-quarters of the diameter of 
the pole above the line and trim square. (See dotted 
line, Figure 4.) Pin or baste pleats in place and take 
down and bind with a bias piece of the same goods 
about one and one-half inches wide, turning in the 
raw edges. Bind tail in same way and sew together 
with base-ball stitch that is illustrated in Figure 4 B. 



This stitch allows the greatest flexibility, and the tail 
can be on top or be turned back and the festoon on 
top without re-sewing, as it acts as a perfect hinge. 

To estimate for this style a safe allowance roughly 
is one yard of goods to a foot of the width of space, 
and three yards more fringe than goods ; thus, this 
drapery on that basis would take five yards of goods 
and eight of fringe ; but for a close estimate make 
your scale drawing first and measure from that, thus, 
add together the depths of the various festoons with 
as much again for fullness and add to this the length 
of the tails on their longest side. This drapery meas- 
ured in this manner would require two and one-third 
yards for the festoons and three and five-sixths yards 
for the tails, or five and one-sixth yards, six inches more 
than the other way. This last method, of course, is 
absolutely safe, while the other will vary according to 
the depth of the festoons. The practical man will, 
with the rough-estimate system, usually be correct, 
but the novice had better measure his plan before 
giving a positive quantity. Another thing, too, will 
be noticed between the two systems, for spaces under 
five feet wide the yard to the foot will be scant, while 
for spaces over five feet, unless you try to make too 
many festoons, the calculation on this basis will in- 
variably be over the mark. 

When using a striped goods that would admit of 
any number of seams, a seventeen-foot bay window has 
been effectively dressed with twelve yards of goods, 
including in the treatment two double tails, and pre- 
sented such an elaborate appearance that a disgruntled 
representative of a rival house offered to alter it and 
save enough from it to drape an eight-foot window at 
the back of a room. 

This is mentioned only to show to what extent 
economy can be practiced without skimping the ap- 
pearance. The eight-foot window in question, with all 
possible economy, required six and three-quarters 
yards when the order was completed. 

It is a good plan for the beginner to take the 
rules here set forth and sketch out a number of dra- 
peries with festoons of various depths and measure. 
Cut and make up in some inexpensive material, such 
as cotton or cheap flannel, until you get the method 
thoroughly memorized. 

A little practice will make the veriest novice 
master of this method, which has been evolved from 
practical experience, and is thus independent of the 
various sketches and patterns offered for sale. 

If any material advantage would be gained, sev- l\ 
eral other methods that are used could be given, but 
the foregoing will be found thoroughly practical and 
economical, a great item in present workroom prob- 
lems. 

To estimate the fringe add together the measures 
of the bottom line of each festoon and the length of 
each tail and add ten per cent, for taking up in sewing. 






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IRREGULAR FESTOON DRAPERY 

(see text on opposite page.) 




IRREGULAR 



FESTOON 



DRAPERY 



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F TH E top of the open- 
ing or space to be 
draped is not a straight 
line, but is curved, 
arching or angular, 
necessitating that the 
ends of the festoons 
be fastened at differ- 
ent heights to follow 
the shape of the space, 
irregular festoons 
must be used. Or, 
when the space to be draped exceeds five feet in width 
irregular festoons will present a better appearance, 
and add character to the decoration. 

Bv irregular festoons we mean those in which the 
two halves of a festoon differ in size and shape, as 
when the lowest point of the bottom line falls to one 
side of the centre ; when one pleated end covers a 
wider space than the other ; or when the ends are 
fastened at different levels. 

Figure 5 (see diagrams on opposite page) is an ex- 
ample of irregular festoon drapery, covering a straight 
space six feet wide, with the middle festoon elevated 
to give the whole an irregular appearance. 

Having secured the measurements from floor to 
top of trim, from top of trim to ceiling, and the ex- 
treme width, make a scale drawing of the space in the 
proportion of one inch to the foot, and on it sketch 
the drapery, as explained for straight festoons in last 
chapter. 

Unless the wood is unsightly it is not necessary 
to cover it altogether, as this style is of a lighter, more 
airy character than the last one, and the appearance 
is sometimes improved by showing enough of the trim 
to define the opening. 

If the color of the wood interferes with the har- 
mony of the wall and fabric, then, of course, it must 
be hidden as far as possible ; but dispose the festoons 
to accomplish this without making the purpose ap- 
parent. 



Correct the sketch of the drapery to conform with 
the necessities of light or passage, as explained be- 
fore, observing the proportion the tail about one-half 
the height of the space, and the deepest festoon one- 
half the depth of the tail, and it is ready to measure. 

In Figure 5, on the opposite page, we have three 
different sizes and shapes of festoons, so that all must 
be measured and cut separately. 

From the lowest point X on the line A B draw 

a perpendicular line at right angles to the floor line to 

connect with X on the line C D, top of festoon. 

(Festoon A, Figure 5.) 

Measure the distance from A to X and X to B 
on bottom line, following the curve, also from C to X 
and X to D on top line, and from X to X ; record the 
distances on the plan in feet and inches, also the 
spaces covered by the pleated ends 1 to 2 and 3 to 4, 
and the distance between 2 and 3 horizontally (see 

dotted line), and the elevation from line 1 2 to line 

3 4. (See dotted perpendicular line from top of 

trim.) Record all these distances and measure festoon 
B in like manner. 

Festoon C is joined to tail on right side to form 
a pipe, but is measured in the same way, treating the 
bottom line as if it were continued around to the ro- 
sette (dotted line through pipe, Figure 5), mark point 
X and measure the same as festoon A, measure the 
length of pipe from rosette to bottom and record the 
distances. 

To measure the double tails draw a line through 
centre (dotted line, left tail, Figure 5) and measure 
the pleated half in the same manner as the single tail 
in last chapter. 

Lay out and cut pattern as for a single tail, and 
repeat from the back edge (dotted line) to give the 
double tail. 

If necessary to piece the tail in planning the 
goods, make the seams where the folds will conceal 
them when pleated up. 

If you find any difficulty in sketching the full 
size pleated tail from which to lay out the pattern for 



V 



IRREGULAR FESTOON DRAPERY 



cutting, as explained in last chapter, Figure 3, the fol- 
lowing method, while not needed by many, will give 
you correctness and certainty : 

The pleated top should equal one-sixth the dis- 
tance from top of tail to bottom point, and the widest 
part, which occurs half way down, should be one and 
one-third times the width of the top. 

Thus a tail 6 — long would be 3 — on the front 
edge and pleat into 1— at the top, spreading to 16 
inches at the widest part. 

Lay out your paper with the longest edge even 
with the side of the table in front of you, and from 
the right hand end point F, Figure 5B, mark point 
E the length of the tail and I half way between. Draw 
a perpendicular line at E and on it mark G the pro- 
portionate distance, and on another perpendicular line 

at I locate H, Figure 5B. Halve the line I H and 

from its centre iX rule to F ; divide the line iX F 

into seven equal spaces, and mark every alternate 
point, commencing with the first one, 2X, 4X and 
6X, and the points between 3, 5 and 7. At right 
angles from the line at point 3 mark J, the distance 
from 3 to 2X, or one space, and repeat at 5 and 7, 
locating points K and L. 

Rule from points J, K and L to 2X, 4X and 6X 
(dotted lines, Figure 5B), and from 2X, 4X and 6X 
draw straight lines to the top parallel with the line 
E F. 

Rule also from J, K and L to the dotted raking 
lines and from G to H, and you have a complete out- 
line of the pleated tail from which to plan your pattern, 
as explained in last chapter. 

The right tail joined to festoon C is cut in exactly 
the same manner as if it were not joined, but was 
complete in itself. 

Lay the pattern on the goods with the side to be 
joined to the festoon even with the selvage. (See 
Figure 7. Dotted lines which show festoon C cut 
out and the right hand tail marked out for cutting 
lying together for matching at the selvages.) 

To cut irregular festoons it is well at first to make 
a paper pattern ; spread out a paper sufficiently large 
to contain the full measurements, with the longest 
side even with the table in front of you (Figure 6), 

using the edge of the paper as the line A B, from 

which to project the shape of the festoon according to 
the measurements. 

From the right-hand end point B mark X the 
distance recorded on Festoon A, Figure 5, or your 
plan, and from X mark point A. Erect a perpendicular 
line at X as long as twice the distance from X to X, 
Figure 5, and at right angles to the bottom line. 

Draw a horizontal line parallel with the bottom 
line or edge of paper, passing through X, the top of 
your perpendicular line, and on it mark the points C and 
D the same distances as they appear on your plan. 

From X on the bottom line, with B as a radius, 



strike a quarter circle from the line, and repeat on 
the other side with X as centre and A as a radius. 

With A as a centre, and one third the distance 
from A to X as radius, strike an arc to intersect with 
quarter circle A at point Ai ; and from point B, with 
one-third the distance from B to X as radius, locate 
point Bi in the same way. 

Rule from Bi to X and from A 1 to X on the 
bottom line, and from C to Ai and D to Bi, which 
gives us the general outline. 

The bottom lines must be rounded as dotted lines 
indicate, with greatest swell one-third of the distance 
from point X on each side ; and the raking lines at 
the side must have the allowance added for trimming 
off three inches at top and bottom, hollowed to one 
and a half inches at centre, dotted lines, Figure 6. 

Cut out along curved lines on sides and bottom, 
and straight line at top, and the pattern is complete. 

Spread out the goods on the table face up, the 
pattern, if any, running from you, and the nap, if pile 
goods, running toward you, with the end of the goods, 
which must be square, even with the side of the table, 
in front of you. 

Lay the pattern on it with the perpendicular line 

X X positively at right angles to the straight end 

of the goods and parallel with the selvage. 

If the width of the goods is not sufficient to cut 
the festoon without piecing, lay the pattern so as to 
leave an equal projection beyond the selvage at each 
side. 

If the amount to be pieced out does not exceed 
six inches, make the join at one side only, and piece 

out with the pieces left from the raking sides, F F, 

Figure 6. 

Pleat festoons A and B in the same manner as 
straight festoons in last chapter, the lines on the board 
corresponding with the lines on the plan, the eleva- 
tion at 3 4 exactly as the plan calls for, and adjust 

the goods until it conforms to the size and shape on 
the plan. When one end of a festoon is attached at a 
higher level than the other, attach the elevated end 
of the pleat first, and then the lower end, for greater 
ease in forming the pleats nice and round. 

Irregular festoons are not interchangeable any 
more than clothes, and will only fit the size and shape 
for which they are made ; for this reason be careful in 
laying out the measurements on the board, as once 
pleated they will hang that way only, and a change in 
elevation or distance, unless very slight, will destroy 
the neatness of the pleats. If, in a drapery design, a 
festoon with the heavy fall point X to the left of the 
centre is repeated in another place with the heavy fall 
to the right of the centre, and the sizes are exact, the 
pattern cut for one will do for the other by turning 
the other side of the paper up ; but be careful to mark 
each side and the festoons to correspond, so as not 
to duplicate. 



IRREGULAR FESTOON DRAPERY 



It is a good plan to number or letter each festoon 
and tail on the plan, and the patterns to correspond ; 
then, if the goods is cut with the face side up, the 
completed drapery must be the same as the plan. 

If for any reason it is advisable to cut the goods 
with the face side down, you must be careful to turn 
your patterns all face down, or your drapery will be 
transposed, with the right tail at the left side, and 
vice versa, and errors of this kind are, to say the least, 
vexatious. 

To lay out festoon C for cutting is a little more 
difficult, but can be easily mastered with care. Lay 
out the paper for pattern on the table, as explained 

for festoons A and B, and draw the bottom line A B 

parallel with the edge of table, and about half the 
length of the pipe above it (Figure 8). Erect the 

perpendicular line X X, and find all the points on 

the pattern in exactly the same manner as for festoon 
A; round out the line from Ai to X (dotted line, 
Figure 8) and the raking line Ai to C. 

From point Bi as a centre, with the length of the 
pipe as a radius, strike a quarter circle from the line 

A B down to a point below Bi (line i Bi), 

round the line right side from X to a little above the 
line, and gracefully sweep to break the sharp corner 
where the circle intersects, as dotted line, Figure 8, 
and rule from Bi to D, adding afterwards the allow- 
ance for trimming off after pleating. 

If you have a small festoon to cut, and one of this 
kind, mark out the small one first, letting the pattern 
lie to the opposite side from the side on which you 
want the piece for the pipe, and the allowance for the 
pipe can usually be cut out of the corner, F. (See 
broken line, Figure 8, which outlines the top of a fes- 
toon beneath the line A B.) 

In irregular festoons the line X— — X must be at 
right angles to the end of the goods, or chalk line rep- 
resenting bottom of festoon where no pattern is used. 

Cut festoon C out complete and match the pat- 
tern of the goods to the piece before cutting out the 
tail. (See Figure 7.) 

Join the straight side 1 -Bi on festoon C to 

the left side of tail and press the seam out so that it 
lies flat as one piece. 

Spread out on the table, and with the paper pat- 
tern mark the top and bottom points of the folds in 
the tail, and commencing at the middle (dotted line 
E F, Figure 7) pleat the outside in the way ex- 
plained in last chapter. Pleat the other side toward 
the centre also, forming all but the last fold or pipe, 
and pin or baste the folds in place. Tack the top of 
tail on the board, which you have already chalked out 
to the sizes of the pleated festoon and tail on the 
plan, and pleat up the festoon by the method explained 
in last chapter, forming the last pleat of the festoon 
and the last fold of the tail into a pipe (Figure 9), con- 
cealing the seam in the fold under the pipe. The ro- 



sette is made of a circular piece of goods, usually joined 
up from the waste, as the pleats will conceal the 
seams. 

If the completed rosette is to be six inches in 
diameter, take a circular piece of goods seventeen 
inches in diameter, and in the centre cut out a three- 
inch circle ; shirr the outside edge from the wrong 
side, using long stitches on the right side and short 
stitches on the wrong side (Figure 9A), dotted and 
unbroken lines (dotted lines on face side of goods), use 
a strong linen thread or twine and draw the shirring 
up close, wrong side out, and fasten securely. (Figure 
9 B.) 

Turn back the small circle over this to bring the 
right side out, and shirr it into the other shirring, 
fastening both together securely. This method gives 
very little fulness on the back of rosette, and plenty 
in front ; pick out the pleats to distribute the fulness 
evenly around the rosette, keeping the outer edge 
square and thicker than the centre. 

The fulness is governed by the size of the hole in 
the centre, and the distance from it to the outer circle 
must equal the desired diameter of the finished rosette, 
with one inch allowance for shirring. 

Sew the rosette to the finished festoon tail, and 
if it is to be suspended from a loop, as Figure 5, sew 
a couple of lambrequin hooks beneath the rosette to 
take the weight. (XX, Figure 9.) 

Figure 5 illustrates a straight top opening, but 
this style is particularly adapted to spaces where the 
top is curving or angular, or in the case of a low door 
or window, where it is desired to give an effect of 
greater height without elevating the entire drapery 
scheme. 

Sketch out and plan a number of irregular fes- 
toon draperies to your scale, complying with different 
requirements in the way of curves and angles, and 
cut out of some soft and inexpensive material, as ad- 
vised in last chapter, until you have thoroughly mas- 
tered the rules and acquired the knack of forming 
nice round pleats from end to end. Be careful in 
sketching an irregular drapery not to get the festoons 
too thin from X to X, which you will be apt to do. 

Except in some special case where a shallow fes- 
toon is required, a pleated festoon that is less than 
eighteen inches from X to X will not look well on this 
size space, and should be as much deeper in propor- 
tion as the size of the space requires. 

Double tails are used in Figure 5 to explain the 
method of cutting them, and where the quantity of 
goods will not permit the use of double tails, single 
tails may be used with very good effect. 

Double tails are frequently joined in the centre 

(dotted line E F, Figure 7), and except in goods of 

a striped or pronounced design may be joined even 
more by calculating for the seams to be in the under 
folds. 




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FLAT VALANCES OR LAMBREQUINS. 

(see text on opposite page) 



FLAT 



VALANCES 



O R 



LAMBRLQUINS 




HE flat valance or lam- 
brequin was originally 
designed as a body or 
background on which 
were embroidered 
the most elaborate 
patterns. It has 
passed through vari- 
ous forms and modifi- 
cations, and at present 
is used for almost 
every purpose in the 
way of drapery treatments. We illustrate a few styles 
which will explain its versatility. 

Figure 10 is one of the simpler forms, surmounted 
by a moulding cornice, and is frequently used where it 
is desired to give the windows the 
appearance of greater height by 
raising the cornice the desired 
distance above the top of the 
frame, the valance concealing the 
real height of the window. 

This style is provided with a 
piece at each end that returns to 
the frame (at right angles to the 
face) and confines the curtains as 
well as concealing the pole or rod 
to which the curtains are attached. 
It can be made very simple and 
inexpensive, and is suitable for 
bedrooms, dining-rooms or libraries 
when the nature of the window 
and the general architecture of 
the room requires simple treatment. 

Figure n is a combination 
of the flat valance and festoon 
drapery. Its use is not confined 
to any particular room, and it can 
be made simple and inexpensive, 
or elaborated with appliques, as 
Figures 12 and 14, until it is rich 
enough for any purpose. Its 
main characteristics are the small 
quantity of goods required and the 
ease with which it can be made. 

[11] 



Nearly all flat valances are made on buckram to 
give them the required stiffness to hang flat and 
smooth. 

Make a scale drawing of the space and sketch the 
style of the valance upon it. Then lay out the full 
size on a piece of paper and cut out the pattern of the 
flat body or background. Spread out the buckram 
and transfer the outline to it, joining it, if necessary, 
to get the size by lapping the edges one upon the 
other and sewing them together flat. 

If the buckram is sufficiently large without join- 
ing you can draw the design upon it without making 
a pattern. 

Do not try to make too many scallops ; allow the 

outside scallops to be a little wider than the others, 

so that they will appear about the same size when 

the tails are put over them. The 

outline of the end scallops can 

be made a little more straight 

where the tail covers it, as dotted 

line, Figure 11. 

The illustrations show these 
two styles trimmed with a galoon 
or gimp, which, on a plain mate- 
rial, is an effective trimming. 
Figure 11A illustrates the 
method of finding the radius of 
three given points — as the two ends 
and the centre of a scallop. 
Having determined the width of 
the scallop, draw perpendicular 

lines at its extremities, A A 

and B B, Figure 11 A, and on 

these lines mark X the distance 

you wish to raise the ends of the 

scallop from the line. With point 

of dividers at C on the bottom 

line strike an arc at a little more 

than half the distance to X on line 

A ; then with point of dividers at 

X on line A strike an arc with 

the same radius as before to cross 

the other arc at the two ends. 

Repeat this on the other side of 

louis xni. the centre point C toward line B, 




FLAT VALANCES OR LAMBREQUINS 



and by ruling straight lines through the intersecting 
extremities of each arc to where they meet in the 
centre you find the radius from which all three points 
would be touched by a sweep of the dividers. 

The pipes which are attached at the top of each 
scallop are cut in the following manner: Measure 
the length of space the pipe is to cover and draw a 
line on your pattern paper its equivalent in length ; 
from one end, with half its length as a radius, draw a 
quarter circle on each side of the line marking point 
D where it crosses the line. With point at D and 
the end of the line as a radius sweep to intersect the 
curved line at each side, which will give you points 

C C ; rule straight lines from points C C to 

B and to A. The bottom line following the circle is 
too round for a nice pipe, and should be modified to 
midway between the curved and straight lines, as 
dotted lines, Figure nB. 

This pattern can be used to good advantage by 

utilizing half of it only, repeating from the line A B 

for the buckram pattern and the lining, as Figure 11B, 

and repeating from the line A C for the pattern 

for the outer covering, Figure nC. After being cov- 
ered with the lining, as Figure uB, it is bent round 
and the two edges joined together with fine thread 
and baseball stitch, as Figure uD. Cut the covering 
as Figure uC, allowing a half inch all around for hem ; 
fold together wrong side out and stitch the edges 

A A and B B together ; 

press the seam out flat, turn right 
side out, and pull over the buck- 
ram form, turning in the edge 
around the bottom and sewing 
it down. 

The tails are cut just as for 
festoon draperies, and the tops are 
turned over the top edge of the 
buckram body and sewn to the 
wrong side or back of it. 

A valance of this kind is pro- 
vided with lambrequin hooks on 
the wrong side to hook into the 
curtain rings, and can be put upon 
the same rings with the lace cur- 
tains or on extra rings, as you 
desire. The hooks should be placed 
to support it at the points where 
will be the greatest weight — one 
on each side of the tail, one at 
the top of each pipe, and about 
every six inches between. The 
tip of the pipe is sewn over the 
top like the tails and the bottom 
is fastened securely at the end of 
the scallop. A nice effect is 
given to the pipe by suspending 
a large pair of tassels from its ■ gothic 




interior, falling about six to twelve inches from its 
base, according to size. 

Figure 12 is a similar treatment, with the lower 
third composed of a shirred skirt ; the buckram form 
is made first and covered, and the skirt is sewn to the 
under side before the lining is put on. In addition to 
the fringe at the bottom of the skirt this style is further 
embellished with an edging or lace around each scal- 
lop and an applique ornament centreing each scallop. 
The top edge is sometimes finished as illustrated with 
a heavy silk cord with knots or double loops at the 
prominent points. 

Figure 13 is a combination of pelmet and over- 
drapery, used where the decoration is desired to be 
very deep without the appearance of excessive weight. 
The flat back or pelmet is made perfectly straight and 
flat, trimmed with a gimp or galoon, and appliqued, 
the long end being provided with a deep fringe. The 
overdrapery is cut as per rule for irregular festoons, 
and while it has the appearance of passing over and 
down behind the pelmet, it is joined behind just out 
of sight, using no more goods than is necessary for 
the appearance on the face side. This can be made 
very effective by using a plain material for the pelmet 
covering and a striped or figured fabric for the over- 
drapery. It can be used for dining-rooms, libraries 
and offices where the windows are high and not very 
wide. Repeated from the left side with double 
tail in centre it is a nice treat- 
ment for a double or mullioned 
window. 

Figure 14 illustrates another 
style and the method of applying 
it to a double window. The top 
is further embellished with a gar- 
niture of heavy silk cords and 
tassels, which, on very deep val- 
ances, is sometimes replaced with 
a light-weight silk festoon drapery 
in harmonizing shades. 

A bow or bay window is 
treated in like manner by sus- 
pending a double tail between 
each window. 

To make up flat valances 

lay the cut out buckram form 

upon the goods with which 

it is to be covered and cut the 

goods an inch larger all around. 

If there is a pattern that is 

conspicuous, plan it so that it will 

centre in each scallop, joining the 

goods if necessary where the pipes 

will conceal the seams. Pin the 

goods to the buckram to prevent 

from slipping and draw the edges 

over and baste them to the back 

[12] 




ILLUSTRATING FOUR POSITIONS OF THE DRAPERY RELATIVE TO THE WOODWORK. 




of the buckram. This must be done smoothly and 
without puckering. 

It will be necessary to notch the goods to allow 
it to go up into the points of the scallops, as X, 
Figure 15. 

After the covering is all basted down lay the face 
side down and spread the lining out over it, allowing 
an inch to project all round. Turn in the edge and 
tack it with shoe tacks or pins, then the bottom edge 
and the two ends, taking care to keep the thread or 
grain of the goods straight and square to avoid 
puckering. 

When all properly basted it is either slip-stitched 
together, as shown in 



Figure 1 5 A, or machine 
stitched, keeping the edge 
of the lining about a 
sixteenth of an inch back 
from the edge. The tails 
also are lined; lay the 
cut tail on the table face 
down and turn over on top 
about half an inch on the 
two sides and bottom, and 
with shoe tacks tack it to 
the table nice and even 
all round the edge ; lay 
the lining over it face 
side up and tack it over 
the other, turning in the 
edge the same distance 
that the goods is turned 
over, and with edges lying 
even, removing the first 
round of tacks as you 
put in the others, baste 
the two together with 
basting stitch and slip- 
stitch, or machine stitch 
it together, according to 
[13] 



^ 




the nature of the goods. In making the pipe 
cover the buckram form with the lining before 
forming it into the cone shape, bringing all the 
edges over and sewing them to the wrong side, 
so that they will not be visible in the cone when 
made. 

For the skirt in Figure 12 allow about as much 
again for fullness for light-weight goods, and half as 
much again for medium weight. 

Do not make it on heavy goods unless very 
deep, and then some other styles would be bet- 
ter. 

All appliques should be put on and sewn before 
the lining is put on. 

In estimating for 
these styles calculate 
how many widths of goods 
are required to cover 
the form from end to 
end, and take that many 
times the depth of the 
valance, with two inches 
allowance each time for 
turning in, and add to 
that the length of the 
two tails. 

Thus a valance like 

Figure 11 would take for 

a four-foot window two 

and five-eighths yards of 

fifty-inch goods, the same 

of lining, and about one 

yard of thirty-six-inch 

buckram. 

The fringe you can 
measure from the draw- 
ing, but three yards more 
fringe than goods is near 
enough for an approxi- 
mate estimate. 






A MODERN VERSION. 






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PLEATED VALANCES OR LAMBREQUINS 




OR places where a flat 
valance seems too 
stiff and severe, a 
number of simple, 
but dainty and grace- 
ful, treatments have 
been evolved. 

One of these is 
the plain box pleat 
surmounted by a 
French ruffle. (See 
Figure 16 on "opposite 
page.) The box pleat is made with various degrees 
of fullness and in many different ways. The usual 
method is to allow each pleat to be as wide as the 
spaces between them — as illustrated. For a valance 
pleated in this way allow about three feet of material 
to one foot of finished pleating. After the goods are 
hemmed the proper width for the valance, they are 
pleated on the table, the pleats are tacked top and 
bottom to keep them in place temporarily, and the 
folds are pressed. 

The tops are pinned while still in this position 
and the whole is then turned face down, each pleat 
being tacked to the next one with stout thread (see 
Figure 16 A) to keep them from becoming disarranged 
in use. The top is either attached to a pole or is 
nailed flat to a board cornice and the top edge finished 
with a moulding or French ruffle. (See Figure 16.) 

When the pole is used sew a flat tape to the back 
of the heading, and sew lambrequin hooks to the 
tape. 

The French ruffle illustrated in Figure 16 is made 
of a strip of goods about four inches wide, lined with 
window holland wiggin or fine canvas to give it stiff- 
ness. 

Hem both edges, allowing about two and one- 
third times as much strip as the finished ruffle is de- 
sired ; turn on its face and mark every two inches on 
the back on or slightly below the centre (A to B in 
Figure 16B). Then take a needle and stout thread or 
twine and draw together every alternate mark and 
knot them securely (B to C). At the top and bottom 
of these alternate spaces pinch them together and 
knot them about one-half of an inch from the pinched 
point, which should be in line with the centre of the 



space (C to D). Then turn face side up, and a slight 
pulling or stretching from end to end will start the 
pleats into shape, when a little manipulation will make 
them take the desired shape, as sketch Figure 16 C, 
showing the face side ; the back should appear as D 
to E, Figure 16 B. 

The double box pleat is a little more decorative 
than the ordinary pleat, and is made as illustrated by 
Figure 17. The top is turned forward and pressed 
flat, as shown in successive stages by drawings 17 A, 
17 B and 17 C. And another style by drawings 17 D, 
17 E and 17 F, which can be quite easily followed. 

Figure 18 illustrates another style with French 
heading, which requires a little more care in calcula- 
tion and in making. If you have determined the 
length and depth of the valance, divide the distance 
into the number of scallops you desire to make, and 
proceed to mark out the full size of one festoon upon 
your pattern paper. Use the bottom of your pleats 

(dotted line A -A in Figure 18) as a temporary top 

line, and the distance from centre of pipe to centre of 
pipe, with about four inches extra as a temporary 
width, the depth the same as plan calls for, with no 
allowance extra. 

Lay out the bottom line according to the meas- 
urement of bottom of scallop, and draw perpendicular 
lines at A and B to about nine or twelve inches above 

the line A A in Figure 18 A. On these mark off 

the distance from bottom pleat (line A A) to the 

top of heading, with as much again for fullness, and 
rule line E E, which is the true top of the festoon. 

Half way between E and E make a perpendicular 

cut, C C, from the top to the line A A, and 

from the bottom C draw a horizontal line the length 
of the measurement of the bottom pleat (in this case 
1 foot 2 inches) ; divide it in the centre and erect a 

perpendicular line through E E as a centre 

guide. 

On the line E E, with F F as a centre, 

mark the points of the top of the heading, H and E 
in Figure 18 A, the distance apart that lies between 
X and X on your sketch (in this case, Figure 18, one 
foot) and repeat this measurement at D G one- 
third the distance from line E E to line A A 

in Figure 18 A. 

Rule from D to H, G to E, D to C on dotted line, 



15 



PLEATED VALANCES OR LAMBREQUINS 



and G to A, as illustrated, and from A to B, fold pattern 

over on centre line C C and cut out the other side. 

Lay pattern on the goods so as to centre the pattern of 
fabric nicely in the scallop, and cut out as many as 
required for the valance. 

In order to get the pleating shirr or pleat the 
raking lines G to A and D to C as tightly as possible, 
so that H H and D D meet together just above the 
lower C. The pipes between the festoons are cut in 
a manner similar to the plain pipes in last chapter. 

When the pattern is planned out and ruled off 
for cutting, as there explained, measure down from 
top point of pattern on centre line one and one-half 
times the distance represented between the lines 

H E and D G on Figure iS A, and with point 

of dividers at this point (K, Figure 18 B), and point 
I, the top of pipe, as a radius, strike an arc equal in 
length to one and one-half times the radius. Rule 

from each end of the arc, J J, toward middle K, 

till you meet the raking line of each side. 

This gives the outline of the pipe, which is joined 
flat to the festoons on either side, as illustrated, Fig- 
ure 18 C, and formed into a pipe by pinching together 
the two back edges at L and L. 

Should the pleated pipe seem too wide at this 
point double pleats on 
each side will obviate 
any difficulty. The pat- 
tern included between 
the points J J and M on 
pipe pattern is the size 
and shape required for 
the little heading at C 

C, Figure 18, and is 

simply formed into a 
pipe inverted and sewn 
in place. This particular 
style is very effective 
for bedrooms, made in 
art ticking, denim, cre- 
tonne or taffeta, having 
a prominent pattern. 
The sketch shows a 
slight ripple in the bot- 
tom of the scallop, which 
is not sufficient to inter- 
fere with the pattern, 
and will be greater or 
less, according to the 
sag of the pleats, and 
consequent distance be- 
tween H and H, Figure 
18. 

The pipe on the 
outside is joined to the 
tail and festoon, a s 
Figure 18 C, and is 




SIMPLE DRAPERY SCHEME. 



pleated up with the tail to the shape illustrated. 
Figure 19 is similar in style, with a pleated scal- 
lop, and is made after much the same plan. Make a 
scale or full-size drawing of the festoon and pipe, and 
measure the bottom of the festoon, as a regular or 
straight festoon. Lay the measurement out on your 
pattern paper, as per rule for straight festoon, chapter 
I, except that points E E are raised one-quarter the 
distance from A to B, instead of one-sixth, as for- 
merly explained. 

The depth for cutting is twice the depth of the 
finished festoon, and the top measurement and centre 
cut are found and determined as explained for plain 
scallop in Figure 18 A. 

Mark out the full pattern as illustrated in Figure 
19 A, measure the circumference of bottom of pipe, 
and lay out the distance horizontally from E to E 
parallel with the bottom line. From the centre of 

line E E erect a perpendicular line as a centre 

guide, and on it mark the length of the pipe from F 
to G and G to H. (See dotted outline of pipe pattern 
in Figure 19 A.) 

The circumference of the small part of the pipe 
is laid out horizontally at G, and also the upper sweep 
at H, as explained for pipe in Figure 18 B. Then 

rule from the extremities 
of dotted line G, drop- 
ping slightly to raking 
edge of festoon, add 
pleating allowance as 
dotted line from D to 
pipe, and the pattern is 
complete. 

This festoon and 
pipe can be repeated in- 
definitely, as in Figure 
19 A, and make a very 
pretty effect as a val- 
ance. If necessary stiff- 
en the top edge with 
wiggin or fine canvas. 
The festoon is pleated 
up as hereafter explained 
for Figure 22. The de- 
sign can also be made 
with separate pipes, if 
so desired, by following 
the instructions for Fig- 
ure 22 and using pipes 
instead of tails. 

Another simple val- 
ance is that illustrated 
in Figure 20. It is very 
easily constructed. The 
goods are cut to the re- 
quired length to allow 
for top and bottom hems 

[16] 



PLEATED VALANCES OR LAMBREQUINS 



and as many widths as are necessary to give 
double fullness across the space. Starting at one 
end make three or four pleats about one and one-half 
inches wide, and fasten them temporarily together at 
a distance of six or nine inches or more, according to 
the design of the goods and width of the space, repeat 
pleating, and so on to the end of the goods. 

If you have correctly spaced and estimated your 
goods so that they come out even to the desired 
length, fasten the pleats permanently together about 
two and one-half inches down from the top and through 
the centre of the pleat. (See X in Figure 20.) Draw 
down the top of each outside pleat behind and stitch 
them in fan shape, as shown in back view, Figure 20 A, 
the top edge turns over to the back between each 
bunch of pleats and is sewn flat. 

Figure 21 is another form of lambrequin in which 
the corners to form the festoons are obtained by piec 
ing out. Draw out on paper the full-size sketch of 
complete lambrequin, as in Figure 21 A, and from the 
pleated ends of festoons represented by the letters O, 
A, D and I, mark out on the sketch each festoon pat- 
tern, allowing them to overlap each other as they will, 
taking double the depth of the pleated parts for the 
depth of the festoon from dotted line to bottom (Fig- 
ure 21 A). 

After each pattern is lined out on the paper in 
full, take a small nail, and laying the pattern over a 
piece of soft wood, punch the extreme points of the 
outline of each part by driving the head of the nail 
through the paper, as also the points where any part 
"crosses the perpendicular double lines. The paper is 
then cut up the double lines and around the extreme 
outline of the parts, as from outside bottom corner of 
right hand tail to N, N. to I, K to H, H to D and F 

to C ; the pattern can then be folded over on X X, 

the centre line, and the left side cut out. 

By laying the pattern over another paper, and 
with a soft pencil marking through the punched 
holes, as well as the corners where the perpendicular 
lines cut through the outline, you easily get the dimen- 
sions of the pieces to be joined on to complete the 
pattern. 

Thus the triangular piece represented by the 
points A, B and C is that required to piece out the 
left side of festoon No. 2 ; D, E and F the right side 
of festoon No. 2 ; D, G and H the left side of festoon 
No. 3 ; I, J and K the right side of festoon No. 3, and 
I, L, M and N the balance of the tail. 

After the different pieces are all joined on and 
the whole lined the parts are pleated up in the usual 
way, with the top of valance tacked flat on the board, 
and the ends of the pleating sewn nicely and covered 
with a knot of large cord which appears to support 
each raised part. 

When cutting the goods add the trimming allow- 
ance of three inches beyond the raking sides of the 



patterns and trim the surplus to as small a compass as 
possible when pleated. 

Figure 22 represents a style of narrow festoon 
drapery which presents a fairly elaborate appearance 
with a small quantity of goods. The tails are planned 
as explained in the chapter on French Festoon 
Drapery. 

The festoons are measured from the sketch, 
allowing the straight lines between the heads of pipes 
and tails to represent the top measurement, the curved 
line at bottom of festoon the bottom measurement, 
and twice the distance between for depth and full- 
ness. 

To plan festoon A, which is a regular festoon, 
lay out the bottom line, Figure 22 A, and from its 

centre erect the perpendicular line X X, and on 

the horizontal line at the upper end mark off the 
top of festoon. Find all the points of the festoon, as 
explained for straight festoons in the chapter on 
French Festoon Drapery, and round out the bottom 
and sides as for regular festoons. 

Follow also the instructions already given in 
cutting the goods, keeping the perpendicular line 
parallel with the selvage, and in regard to nap and 
pattern. 

To pleat up the festoon fasten the top edge to 
the board with temporary tacks, pinch up a pleat about 
one-fifth the distance from top to bottom, and with the 
disengaged hand form a pleat at the edge of the goods, 
the point of which is attached on the line of the top 
edge. (Points A A, Figure 22 B.) 

The remaining goods are equally divided and 
pleated in like manner into four full pleats of equal 
size and depth. 

When all tacked in place a line is drawn from A 
to B on each side, the pleats pinned or basted and 
taken down, then the edges trimmed off square to the 
line and bound. 

The centre pipe or tail is treated as a single tail 
by drawing a line through its centre to divide it for 
measuring. (E F, Figure 22, dotted line.) 

The half is sketched out full size, as explained in 
Figure 3, Chapter on Festoon Drapery, allowing one 
more return fold at back to meet the other side at 
centre line (Point F, Figure 22), and the pattern re- 
peated at G H X in Figure 3 to make the full 

double tail, which is lined and joined together at the 
edges E -F, Figure 22, and then pleated. 

It is well to cut a double pattern all in one piece 
and pleat it so that you can tell by the folds of the 
pattern where seams will be permissible in the 
fabric. 

A great many combinations such as these can be 
made by the exercise of a little ingenuity and patience, 
which will depend for their appearance on the neat- 
ness of the work and the disposition of the stripe or 
pattern of the fabric. 



17 




r.jia 



PIANO 



AND 



MANTEL 



DRAPERIES 




HE fabric-decoration of 
pianos presents diffi- 
culties peculiar to 
itself, and the effort 
to combine beauty 
with common-sense 
utility has resulted 
in many pretty treat- 
ments, a few of which 
we illustrate. One of 
the first problems in 
the treatment of an up- 
right piano is to securely and neatly attach the drapery 
to the instrument without in anywise interfering with 
its use or marring its finish. 

For most treatments a board the shape of the 
top of the instrument, covered with a neutral-tinted 
fabric and lined beneath with felt or canton flannel, will 
be found to be an easy and practical method of pro- 
tecting the top of the instrument, at the same time 
affording a solid place for the attachment of the 
drapery. 

When covering the under side be careful not to 
leave any tack' heads projecting ; either sink them into 
the fabric below the surface, or at the four corners, 
and centre tack a small wad of felt about an inch in 
diameter, and drive the tack in so that the felt is forced 
upward around the head of the tack. 

If the board should be inclined to teeter or rock, 
thicken the wads at the loose corners until it lies per- 
fectly fiat and solid. 

The drapery can be attached to the board in a 
number of different ways. For light festoon draperies 
in which the top of the festoon falls below the edge 
of the board a good method is to attach a small metal 
rod to the edge of the board, turning the corners nicely 
with elbows, or bending it sharply at right angles, and 
loop the drapery over this. For flat or straight top 
festoons attach directly to the board and cover the 
edge with a ruffle or large cord. 

Figure 23 illustrates a valance or lambrequin treat- 
ment made with a plain scalloped centre and narrow 
festoons on the sides and ends, with pipes at the in- 
tersections of the scallops. The festoons are fastened 
along the edge of the board and covered by a large 
cord. The plain scallop in centre does not interfere 
with the use of the music rest and is sufficiently deco- 
rated with an applique pattern. 

The pipes may either be made separately, as ex- 
plained in chapter on flat valances, or cut together 
with festoons, as in chapter on pleated valances or 
lambrequins. Where appliques are used, whether of 
leather, tinsel or lace, the best effect is obtained by 
using a self-color fabric without pattern or design. 
Sew the appliques down flat either by hand or machine 
before the lining is put in. 



Figure 24 is a flat applique valance on which 
the applique is allowed to project beyond the edge of 
the scallops, making an irregular lace edge effect. This 
makes a very neat and simple arrangement, and is cut 
as Figure 24 A, to allow an overhang on the face and 
two ends of the instrument. 

The overhang X at the end is made the width of 
the top, so that the front overhang falls close to its 
front edge and meets the applique to conceal the 
opening at the corner. 

This style usually requires two breadths of fifty- 
inch goods, and is made with an overhang of six or 
nine inches in front and eighteen to twenty-four 
inches at each end. After the edging is sewn on it 
is lined (sometimes interlined) and laid on the 
piano, where its weight is usually sufficient to keep it 
in place. 

Figure 25 is a festoon drapery looped over the 
metal rod on the edge of the board or attached to the 
edge of piano top, as illustrated by small cords and 
tassels, which are attached to the back of the piano. 
(See dotted lines Figure 25 A.) They may be either 
straight loops, as left side of illustration, or crossed, 
as right side of illustration. This style is cut and 
made up with due consideration of the size and re- 
quirements of the space, as explained in chapter on 
French festoon drapery. 

A pretty scheme is sometimes made in soft 
fabrics by using a drapery that is a composite of the 
last two, a flat top cover with a pleated festoon effect 
on the front and end, as outlined by scalloped broken 
lines on Figure 26. It is made as explained for Figure 
21 in chapter on pleated valances or lambrequins. 

After the festoons are drawn out full size and 
marked for cutting, the pipe for the corner may be 
added and cut out with the festoon. (See explanation 
for Figure 19 A in chapter on pleated valances.) 

The tail in Figure 26 is planned the reverse way 
to the method mentioned in a former chapter, but a 
study of this illustration will show that the principle 
is the same. 

The tail and pipe may be cut separate from the 
rest or cut attached by allowing for the little connect- 
ing pieces X and X, which fold beneath and do not 
show. In cutting the tail for this design there is 
nothing to be gained by cutting it attached to the 
festoon, but the method is given here to explain the 
principle. 

The plain tied scarf, Figure 27, is usually a piece 
of soft unlined fabric twenty-seven inches wide by 
about two and two-thirds yards long, and is caught up 
as illustrated by tying a small shirring cord which is 
run through the fabric and divides the front overhang 
into three festoons. 

In large rooms there is sometimes an advantage 
in turning the keyboard to the wall and decorating 



19 



PIANO AND MANTEL DRAPERIES 



the back of the instrument, which is then the most 
prominent part. 

The nature of this treatment is to disguise the 
piano and give it the effect and usefulness of another 
piece of furniture. 

Figure 28 illustrates a popular treatment, the 
back covered with a curtain of soft fabric shirred on a 
rod, and attached to the back of the instrument so 
that the heading or shirring projects slightly above 
the top. In making the curtain allow about as much 
again for fullness (or twice the length of the space to 
be covered), letting the bottom edge of the curtain 
hang free or shirr it on a rod similar to the top. To 
this is added an upholstered seat or bench and a few 
pillows. 

If desired a festoon drapery can be added at the 
top of the curtain with good effect. 

A decorative panel may be used instead of a cur- 
tain, as illustrated in Figure 29, either with or without 
a seat, and the drapery made to conform to the style 
of the panel. 

The drapery may be made as a part of the panel, 
as Figure 29 A, or attached separately after the panel 
is in place. 

A square or grand piano is prettily treated with a 
flat cover, the size and shape of the top trimmed with 
an overhanging fringe or appliqued edge of a depth to 
suit the individual taste. 

The cover may be made of any medium-weight 
material of self or composite colorings, but preference 
should be given to a fabric not easily marked by the 
ornaments or bric-a-brac. 

In many cases the designs suitable for an upright 
piano can be used with good effect on a mantel, Fig- 
ures 23, 24, 25 and 27 of our illustrations possessing 
this feature to a certain degree. 

The decoration of a mantel, however, does not 
present the same difficulties as the decoration of a 
piano, because there are fewer restrictions to bear in 
mind, and there is perhaps more danger of overdoing 
mantel decoration on this account. 

From the appearance of some of the old-fashioned 
fireplaces still in existence we would infer that in those 
days utility and capacity were the first, last and only 
considerations. 

The open grate, though popular for a long time 
after its introduction into this country, gradually be- 
came less and less frequently used, and as its useful- 
ness decreased its artistic insufficiencies became more 
and more apparent, draperies being used to relieve and 
ornament it where it was thought unwise to remove 
it altogether. Succeeding the period of disguised 
homeliness we have a period of more elaborate de- 
signs, and with the return of the overmantel archi- 
tectural art has lavished upon this piece of furniture 
carvings and mouldings until it is usually a thing of 
beauty, and the decorator has sometimes to advise 



against what would be a superfluity of decoration in 
the employment of fabric. 

A little judicious advice along the line of super- 
abundant decoration is sometimes profitably ami kindly 
received, but the man who presumes to so advise must 
do so only upon invitation and with the utmost tact. 
In a great many cases, however, the mantel drapery 
is still an artistic necessity, and we give herewith a 
few styles and methods of modern treatments. Figure 
30 is a flat-covered buckram pelmet, having a scal- 
loped bottom, and a series of apertures through 
which a light-weight drapery is arranged in regular 
festoons. 

This style is frequently employed to obtain depth 
without the appearance of weight. The top edge of 
the pelmet may be finished with a cord, fringe, mould- 
ing, antique nails or any simple form of trimming. 
For method of making this class of drapery see chap- 
ter on flat valances and lambrequins. It is sometimes 
necessary to provide an open grate with draught cur- 
tains, as Figure 31. 

These are hung on a small rod close up to the 
top of the opening, using rings large enough to allow 
them to traverse easily, and are provided with a tassel 
loop at each side to retain curtains, as dotted lines, 
Figure 31, when the grate contains fire. 

It is necessary, unless the goods are very heavy, 
to weight the bottoms of the curtains to prevent the 
draught from drawing them inward. This is accom- 
plished by a small roll of shot, about the thickness of 
a lead pencil, cased in cotton and inserted between the 
lining and the goods along the bottom of the curtain. 
Do not fill the roll so tightly that it will not retain its 
flexibilty. 

This will be found a good method to employ 
where a draught of any kind interferes with the proper 
appearance of a light-weight curtain, and the roll can 
be kept almost invisible in the lightest materials by 
covering it with a piece of material the same shade as 
the curtains. 

Frequently the appearance of a room may be en- 
hanced by giving the mantel fitment some elevation, 
as, for instance, Figure 32, by reason of its plainness, 
would in a large room present a squatty appearance, 
were it not for the elevation given it by the panel and 
drapery. Instead of the panel, a mirror may be used, and 
the drapery added to relieve the bare top line. The 
drapery may be attached to a pole, cords or orna- 
ments, as your design may require, taking care only 
to give it sufficient extension to clear the panel nicely 
and not lie flat against the face of it. 

This style, with Figure 32 A, gives another method 
of combining a festoon and a tail, the join being made 
after both are pleated up and the seam concealed by 
a cord which appears to loop it back. 

Measure and cut festoon A, Figure 32 A, as per 
rule for irregular festoons in the chapter pertaining to 



20 




that subject, which will give you the pattern Figure 
32 B. Pleat this up on your board to the dimensions 
and shape of your plan and make a paper pattern of an 
ordinary single tail the size you require. Pleat this 
up and trim the corner C, Figure 32 D, to fit the angle 
covered by the cord in Figure 32 A. Cut, line, and 
pleat up the tail in the usual way, and join it to the 
pleated festoon as neatly as possible. 

The decorator with an eye for ensemble will some- 
limes be able to suggest the breaking up of a too flat 
boudoir or dressing-room side-wall with a mantel shelf 
or hanging book-shelf, which can be tastefully deco- 
rated in keeping with the surroundings. The treat- 
ment of high upright steam rediators is analogous to 
this line of furnishing and demands in some instances 
much the same mode of procedure. A board or shelf 
is made to fit the top of the radiator and so constructed 
as to fit squarely and securely with a boxing or keeper 
beneath, to prevent sliding or slipping. This is covered 
with a fabric to harmonize with the other furnishings 



and trimmed with a deep fringe, a Japanese reed and 
bead curtain, a moulding, or a very shallow valance. 

The depth of any, governed by the style of the 
radiator and the taste of the decorator, best results 
are obtained by using a board that has saw cuts about 
an inch apart, and running within a few inches of 
from end to end, lengthwise. Very low upright radia- 
tors can be effectively treated by making the top into 
an upholstered seat and trimming the front and ends 
with a deep close fringe from seat to floor, which will 
conceal the radiator and permit the escape of all the 
heat. 

A study of the accompanying illustrations will 
suggest the application of each to the requirements 
of a piano, mantel or shelf, and from these a great 
many pretty combinations may be evolved. 

In the styles presented we have tried to avoid 
anything of a cumbrous or fussy nature, on the ground 
that dignity and simplicity are more preferable in the 
smaller furnishings. 




[21] 



D 



R 



A 



R 




LL draperies that are 
not regularly cut and 
made, according to 
some design, but de- 
pend for their ap- 
pearance entirely on 
the way in which the 
fabric is put up, are 
classed under the 
heading scarf draper- 
ies. They are at 
best but an imitation 
of the cut festoon drapery, and for anything permanent 
much better satisfaction is obtained by the use of fab- 
ric properly cut and made up. 

When the decoration is of a transient character, 
however, such as show-window decoration, festival 
decoration, or the temporary adornment of a door or 
window, very good effects can be obtained by practice 
and the exercise of a little ingenuity without cutting 
the material, and it is not a rare occurrence to meet 
men of long experience in the drapery business who 
employ this method altogether. As a knowledge of 
the methods used to obtain various results in this 
style will doubtless prove useful, we present herewith 
a number of illustrations which show the versatility of 
this principle. 

Figure 33 (see diagrams on the opposite page) 
illustrates one treatment of a pair of tapestry, silk or 
chenille curtains to form a drapery over a six or seven 
foot opening. 

To accomplish this divide the width of the open- 
ing into three spaces, the middle one slightly narrower 
than the others. At point A, Figure 33 A, temporarily 
attach the corner of one curtain and draw the other 
end of it up and over the pole B, from behind ; without 
twisting the curtain, draw the top (or dotted line) edge 
Figure 33 A over until the sag between A and B is 
nearly correct, then adjust the bottom (or broken line) 
edge, allowing it to sag considerably more than the 
upper edge to give the necessary depth to festoon 2. 
Note the stripes of the material in Figure 33 A, which 
illustrates how a straight cross-striped material would 
look if used in this way. 

Fasten the goods temporarily at B with a few 
tacks and proceed with festoon 3. 

Carry the (broken line) top edge, which was the 
bottom edge in festoon 2, to C, your left outside point, 
Figures 33 and 33 A, allowing it to sag slightly as the 
top of the festoon. 

Hold the material at point C with the right hand, 
and with the left hand grasp the edge of the goods a 
short distance farther to the left and raise it above the 
right hand (at point C) until the edge of the goods be- 



tween your hands is taut, as illustrated by Figure 33 A. 

If you have allowed a sufficient distance between 
your hands, corner E of the curtain should be higher 
than corner F, as illustrated. 

Adjust the position of your left hand until you get 
the corners to satisfy you, leaving the corner F as low 
as you desire to have it. With the hands in the positions 
of Figure 33 A move the left hand over above the 
right hand, keeping the edge of the material still taut 
between them, and with the fingers and thumb of the 
right hand gather up all the goods across the dotted 

line X X into small pleats and squeeze this tightly 

with the right hand as Figure 33 B. Half way be- 
tween the two hands bend this bunch back, bringing 
the point held by the left hand under the fingers of the 
right hand where it is tied securely by a cord passed 
around the goods gathered there, and attach it to the 
wall, pole or door frame at point C, Figure 33. 

The rosette is formed by spreading out the loop 
formed by bending back the point for tying. Spread it 
fan shape, Figure 33 C, bringing each side around to 
form a complete circle, ending by tucking one within 
the other as Figure 33 D. 

Pick out the most prominent folds below the 
rosette to form pleats and form them as far back 
toward point B as you can follow them, making as many 
as are necessary to dispose of the fullness of the fes- 
toon; form a pipe dropping from the centre of the tied 
bunch beneath the rosette and pleat the rest of the 
fullness to form a double tail as illustrated. 

Release the goods where they were temporarily 
tacked at B and form folds over the pole that will be 
continuations of the pleats radiating from the rosette. 

Commence at the side nearest the rosette and tack 
each one as you form it, allowing the last one to be a 
nice full pleat, as illustrated in Figure 33 E. The 
point of the curtain which was attached at A is now 
drawn up slightly to make a few shallow pleats in fes- 
toon 2, and the point thrown back toward the wall, out 
of sight, where it is fastened to keep the pleats in 
place. 

For festoon 1 spread the curtain out flat, as Fig- 
ure 33 F, and with one hand gather the goods into 
small pleats across the end on the bias and slightly 
curved, as dotted line. This is securely tied and thrown 
over the pole at point A, the short 
edge uppermost and next to the 
other curtain (see Figure 33 G), 
fasten it there and make a festoon 
rosette and tail with the balance of 
the curtain, as explained for festoon 
3, Figure 33 A. 

If you wish the single tail at 
A, formed by the end of the second 



23 




SCARF DRAPERIES 



curtain, to cascade the reverse way (with long side next 
to the other curtain), twist it where it is brought up 
behind the pole, but do not turn the whole curtain 
over, as you need the longest edge for the bottom of 
the festoon. 

A study of the dotted and broken line edges of 
each illustration will explain how they are manipulated 
to secure the requisite length for the bottom of the 
festoon, how the surplus from the top of one festoon 
is used to increase the length of the next one, and how, 
by using alternate edges of the curtain, it is made to 
cover a larger space. 

Figure 34 is another treatment of a pair of cur- 
tains for a similar space. 

The right-hand curtain is manipulated much the 
same as the left-hand curtain in Figure 33, which has 
been already explained. The left-hand curtain is 
pleated into the space allowed for it at the top, either 
tacked over the pole as illustrated, or attached to rings. 
It is allowed to hang straight from the pole and either 
caught up with a rosette at the side or is gathered 
back and confined by a loop. 

To make the rosette, allow the curtain to hang per- 
fectly straight either just to the floor or even a half yard 
longer (if you desire the sweep of the bottom edge nice 
and full), and grasp the edge, without stretching it, at 
the point where you wish to make the rosette. 

Then with the disengaged hand, Figure 34 A, 
catch the edge again lower down and raise it until 
the longest point of the curtain clears the floor or 
is as much higher as you want it to be when 
finished, gather across dotted line, Figure 34 A, and 
form the surplus into a rosette, as explained for 
Figure 33. 

Pick out the fullness of the curtain into pleats, 
form a pipe depending from the centre of the tied part 
beneath the rosette and pleat the balance into a 
double tail. 

To gather the curtain back with a loop, as Figure 
34 B, allow it to just nicely clear the floor, and then 
with both hands gather it into large folds commencing 
at the outside edge considerably below the position of 
the loop, and following the sweep indicated by dotted 
line across curtain in Figure 34 B. 

Figure 34 C is an illustration of how this can be 
accomplished neatly without the necessity of pulling 
the curtain through the loop after it has been caught 
up ; Figure 34 D is a cross section of a curtain while 
being gathered, illustrating the position of the fingers 
as they form each successive pleat, the thumbs remain- 
ing stationary and the fingers drawing the goods 
toward them to form each pleat. 

Figure 34 E is a back view of the end of the 
curtain that is pleated over the pole, Figure 34, and 
shows also the corner of the curtain which forms the 
middle festoon. For Figure 35, another treatment of 
a pair of curtains, gather the curtains, one for 



each side, as explained for festoon 1, Figures 33 F 
and 33 G, and fasten the tied parts together to 
form the double tail in the centre, twist each curtain 
where it passes through the ring to bring the short 
edges to form the outside of the double tail, and form 
the festoons, rosettes and outside tails, as explained for 
Figure 33. 

Figure 36 is an illustration of a scarf drapery for 
a six-foot circular top window or archway, made of six 
yards of fifty-inch material, with a fringe sewn on one 
side and both ends. 

Divide the space for the number of festoons you 
wish to make, mark the points where the attachments 
will be fastened, and put them in place, mark X the 
centre of the space and V the middle of your length 
of goods on the top or unfringed edge. 

Temporarily attach V at point X and carry the 
edge of the half length to the right or left to A or B, 
the first point of attachment, allowing a slight sag for 
the top of the festoon. 

With one hand hold the edge of the goods at B, 
Figure 36 A, and move the other hand twelve or 
eighteen inches farther along the edge, and with a 
gathering motion of fingers and thumb allow the two 
hands to follow the shape of the dotted line across the 
goods, Figure 36 A, until they meet at E, which you 
have judged to be as far from the bottom edge as the 

length you wish to make the pipe O, formed at B B, 

Figure 36. 

As the hands meet gather all the goods into one 
and with the other tie a cord tightly around the gath- 
ering, the same as for the rosette, Figures 33 A and 
33 B ; the surplus above the tying may be formed 
into a rosette or thrown back through a ring, as illus- 
trated. 

The same process is repeated at ring A A, 

and the two outer festoons and tails formed as ex- 
plained for festoon 3, Figure 33. After all is securely 
attached pick the fullness into pleats that follow nicely 
from one point of attachment to the next ; form pipes 
of the surplus bottom edge and fold and pick out the 
ends uniil you have a presentable double tail sur- 
mounted by a rosette, as illustrated. 

As we have already stated, scarf draperies depend 
for their appearance on the way in which they are put 
up, and a little time spent in carefully adjusting the 
pleats and pipes so that they hang gracefully without 
drawing or twisting will be amply rewarded by the 
appearance of the finished product. 

Some materials require an infinite amount of 
coaxing, particularly for scarf draperies, but patience 
and perseverance will usually conquer the most con- 
trary fabric. 

Figure 37 is a scarf drapery made with one re- 
verse where it passes through the ring. By reverse 
we mean that the fringe instead of being all sewn on 
one side of the goods is for some distance transferred 



24 



SCARF DRAPERIES 



to the other side of the goods and sewn to the oppo- 
site edge. 

If the material is reversible (finished alike on both 
sides) the fringe can be reversed, as Figure 37 A, with- 
out cutting the goods, and the fringe, instead of end- 
ing with the two ends opposite one another, is allowed 
to pass or overlap to about the position indicated by 
the extremities of the dotted A A. 

If the material is not reversible, as is supposedly 
the case in Figure 37 A, the goods are cut (in this 
case one-third the distance from one end) and sewn 

together at Ai Ai, with the long end the reverse 

side up. Gather the goods across the broken line 

Ai Ai and draw through the ring until the seam 

is concealed ; draw over the hook B, leaving the neces- 
sary sag to the bottom edge and allowing the top edge 
only a slight droop ; gather and tie at the outside cor- 
ner D, and then go over both the festoons and coax 
the pleats into shape. 

You will find that the goods have become consid- 
erably biased where they pass over the hook B, and 
for that reason do not fasten them at C until the cen- 
tre festoon is finished to your satisfaction. When this 
is accomplished proceed to finish the left festoon after 
the manner of festoon 3, Figure 33 A. 

The top edge between B and C will be found 
quite full, and the surplus must be disposed of in the 
rosette at C. This is one of the most popular styles 
of small scarf draperies, and if nicely carried out in 
soft fabrics can be made to look quite neat. Before 
cutting the goods for reversing, we would advise the 
temporary draping of the goods, as hereafter explained 
for Figure 38. 

Figure 38 is an elaborate festoon scarf drapery, 
with the fringe reversed in four places. 

To accomplish this successfully it is almost im- 
perative that we use a reversible material that will 
permit of each side being alternately presented to view 
in the festoons without perceptible difference. 

To calculate for reversing scarf draperies the best 
plan is to mark off on your drapery board the dimen- 
sions of your space or opening, and attach to it at 
requisite points ornaments, rings or poles similar to 
those you intend to attach it to when finished. 

Cut off your material, allowing one yard of ma- 
terial to each foot in width of space, and temporarily 
attach the centre of one edge of your goods to the 
middle of your space ; then bring it through or over 
.the next attachment, drawing to about the desired 



proportion of the festoon, and repeat at the next point, 
and so on to the end rosette ; bring the goods over and 
over each time without twisting it, as you would bind 
a bandage round a limb. When all temporarily at- 
tached go back over each festoon and be sure that it 
is correctly adjusted, and then tie up the ends to form 
rosettes. You can now readily see where fringe will 
be needed ; mark it as it hangs, using safety curtain 
pins, placing a pin at the extremities of the bottom 
line of each festoon, the points toward the bottom of 
the festoon. (See Figure 38 B, points D and G.) 

The bottom line of the next festoon runs up be- 
hind this one, consequently you must reach up under- 
neath the first festoon and place the pins in the face 
side of the under festoon, points downward, as dotted 
out lines, E and F, Figure 38 B. Put a pin also in the 
outside corner of each tail, pointing toward the lower 
point of the tail. When all pinned take down and sew 
the fringe on the side from which each pair of pins was 
inserted, and from point to point of each pair. This 
will bring the fringe alternately first on one side and 
edge and .then on the other side and edge, as Figure 
38 A, which represents the fringe between points 

A B, D G and H J, as being on the top 

side of the goods as it lies spread out, and that between 
points C E and F 1, on the under side. 

Figure 38 B shows a variation from the style of 
Figure 38, in that the festoon does not form a wind 
round the pole, but is as a loop dropped over it, both 
ends of the festoon showing in front of the pole. It is 
seldom employed more than once or twice in a large 
drapery, and then in the centre or at equal distances 
on each side of it. 

In scarf draperies, as in cut draperies, study to 
produce a symmetrical and well-balanced effect, and 
at the same time avoid having each side the exact 
duplicate of the other. Figure 38, for example, is an 
illustration of this thought. 

If for architectural reasons it is necessary that 
both sides be alike, as Figure 35, then plan to have 
them as exact as possible, but, as a general rule, a 
slight variation adds character to the decoration. 

Avoid, also, too many rosettes, two being quite 
sufficient in almost any drapery that is not of a tempo- 
rary character. 

We do not advocate the use of scarf draperies for 
permanent treatrnents, but the knowledge and skill 
acquired by practice in this style of decoration is a 
valuable possession. 




[35] 




WHITE 

BLUE 




ENGLAND 
NETHERLANDS 

1'ARAGUAV 



RUSSIA 



BUNTING DECORATIONS 



j 



I L 



WHITE 




UNITED STATES FRANCE 



FESTIVAL 



DECORATIONS 



PART I. 




D' 



more important in the decorative 
business. 

To successfully handle it to any 
extent it is necessary to carry on 
hand a quantity of the different 
decorative materials, such as flags, 
bunting, shields, banners, etc., and 
for quick and effective display 
a few of the following suggestions 
might be profitably adopted. 

The natural advantages pe- 
culiar to each building frequently 
suggest the basis for a decorative 
scheme, and in planning an ex- 
terior trim it is 
best to first 
make a careful 
study of the 
building and jot 
down what par- 
ticular features 
strike you as 
offering advan- 
tage or difficulty 
in their decora- 



iUring certain seasons 
of the year the deco- 
rator is called upon to 
furnish decorations for na- 
tional demonstrations, so- 
ciety functions and the 
enrichment of halls, lawns, 
booths, etc. These decora- 
tions demand something 
more than the usual exhibi- 
tion of a few flags and bunt- 
ing, that may signify any- 
thing from a national 
victory to the opening of a 
saloon, and this branch of 
work is gradually becoming 





tion. Note also the accessibility of the prominent 
places, and plan your trim accordingly. 

Too much stress cannot be laid on the import- 
ance of this preliminary survey, for plans might be sug- 
gested which would have to be considerably modified 
in execution, to the disappointment of your customer. 
After notes are taken, secure, if possible, a cut 
of the building from the stationery or advertising 
matter of the tenants or owners, and with these as 
a basis project your scheme of decoration. If a sketch 
must be made, adhere rigidly to the architectural pro- 
portions of the building, and be careful not to show 
streamers or festoons where your workmen would 
require wings to place them and glue to stick them 
in position. 

The methods of disposing decorations for ex- 
terior work differ according to 
taste, and no hard and fast rule 
can be laid down as to what is 
and is not proper. We illustrate 
in Figure 39, on the opposite page, 
a few of the different designs 
which are most frequently used. 
This building possesses most 
decided natural advantages, and 
the whole decoration could be 
carried out completely in any one 
of the different styles suggested 
in the illustration. 

On the ground floor elevation 
we illustrate a number of columns 
resting on a square base and sur- 
mounted by an illuminated globe. 
The plinth (see detail Figure 40) 
is a square box covered with cotton 
stretched smoothly and tacked on 
the back or bottom to conceal the 
tacks. 

The torus is a circular piece 

of board a little less in diameter 

than the top surface of the plinth, 

[26] 




f*M-> 



I© 



FESTIVAL DECORATIONS 

FIGURE 39. SEE TEXT ON OPPOSITE PAGE. 



£ 



t^: 



FESTIVAL DECORATIONS 



covered with cotton, also drawn tightly and tacked 
underneath. 

The framework of the shaft is made as Figure 
40 A. Two pieces of board are nailed together V- ' 
shape, and finished at each end with a circular piece 
of board the diameter you desire your shaft to be ; 
this frame is covered with cotton pleated from end 
to end, as figure 40 B. 

This requires considerable practice to do it nicely, 
but when neatly covered with bleached white cotton, 
with pleats about one and one-half inches wide, it 
makes a very pleasing column. 

The astragal, neck, ovolo and abacus (see detail) 
are covered circles of graduated diameters, all securely 
fastened together ; the globe which surmounts the 
capital is a hollow shell made on a frame similar to 
Figure 41, and covered with alternate colors of 
cotton, the joins tacked together on the ribs and con- 
cealed by the puffing explained a little later. 

When completed, the whole forms a light and 
neat semblance of a heavy fluted column, and gives 
a dignified appearance to a trim. If desired they 
can be made half round or half square and used as 
pilasters, made and finished in the same way. While 
not quite as effective, they require less time and 
material. 











The corner doorway of Figure 39 shows a round 
top shirred in with cotton or bunting trimmed with a 
couple of flags and a drapery of two alternate colors. 

If the sweep of the arch is a semi-circle, take a 
piece of material a little more than half the diameter 
in width and as long as twice the diameter (or bottom 
measurement) and gather one edge into small pleats, 
tie it tightly and attach it to the centre of the bottom 
frame. 

Commence in the centre of the top edge of the 
fabric and fasten it to the middle of the top frame, 
and, working from this each way, stretch the material 
smoothly into pleats radiating from the tied edge, and 
tack it all around the sweep of the frame, cover the 
bottom edge with a couple of flags draped as Figure 
42 A, B and C, minus the sticks, and finish the outside 
of the circle with a puffing. 

To make the puffing, fold a width of material 
(about 30 inch) into pleats about two inches wide, and 
tack one end of it to the point where the puffing is to 
finish. Leave a loop of the pleated material about 
three inches high, and with a single tack attach the 
goods three inches from your first tack; follow this 
out to where the puffing ends, and then go back over 
it and open each loop out nice and round, taking a 
selvage each way, as illustrated in Figure 43. 

The sprays of flags between the columns are made 
as explained by Figure 44 ; the flags for these and the 

[28] 




windows of the second story, manipulated as Figure 42 
A, B and C, to produce the full-draped effect. 

The double drapery of alternate light and dark 
festoons below the second story windows are gathered 
as Figure 45, the hands gathering down from the top 
edge till they meet at the bottom edge, as explained 
for Figure 36 A, in chapter on scarf draperies. 

The banners on the second and third stories may 
be made of bunting, joining the different colors to- 
gether, or of cotton, with the colors and patterns 
painted on them. The draperies on the third and 
fourth stories are gathered as Figure 46, the hands 
gathering the goods as dotted line, and meeting about 
one-third of the distance from the top. 

With an assistant to handle one piece of the 
goods, the alternate effect can be easily produced by 
making first a festoon of one color then a festoon of 
the other color, crossing the goods each time a festoon 
is made. 

If you desire to use three colors, stretch one, 
preferably the lighter, straight along 
the back as a background and drape 
the others over it. 

The wreaths and festooning on 
the third story are made of tissue 
paper or of cedar twigs tied together, 
and are quite effective in contrast 
with other decorations. 

To secure the effect illustrated 
at the windows of this floor, the end 
of the material is tied into a bunch 
and attached at the bottom corner 
of the window (Figure 47), and then 
stretched up and spread along the 
top of the frame and tacked ; treat 
the other side of the window the 
same, and finish the top with an 
inverted fan. 

To make the fan, allow about 
three times as much material as the 
width of the space, and pleat one 
edge into small pleats ; attach this 
to the centre of the top of the frame, 
and then carry the two outside bot- 
tom corners of the material up to 

[29] 




the corners of the window frame, and gather each into 
a rosette, as Figure 47 A. 

The drapery on the top floor of the illustration is 
made as a scarf drapery. Gather the high points, 
allowing the hands to describe two sides of an equa- 
lateral triangle (Figure 48), and form the surplus into 
rosettes, the lower points gather as Figure 46 ; tie in 
position, form rosettes and carry the goods on up to 
the next point, as illustrated. Do not tie rosettes 
where the shields will be placed, but allow the goods 
to fall in a deep festoon. The shields or trophies are 
a quick and effective decoration, usually made of 
sheets of tin or heavy cardboard, mounted on a frame, 
as illustrated Figure 49, and painted with emblematic 
devices or coats of arms ; flags are inserted at the top 
to form a spray. 

The Venetian masts shown on the top of the build- 
ing are very largely employed in out-door decorations, 
usually in the form of a colonnade, to line the sides of 
a street or walk, or to flank the entrance and approach 
of public buildings during a demon- 
stration. A quick way to erect 
them when they cannot be driven 
into the ground is to stand them in 
barrels; fasten them upright and fill 
the barrels with sand or stones. 

They may be any height, and 

placed as far apart as you wish, but 

do not put them nearer than a mast 

length apart to obtain the best effect. 

The small triangular banners are 

suspended from the mast top by ropes 

attached at each corner of the wide 

end of the banner, a rod being 

hemmed in the banner for this 

purpose. 

Festoons of wreathing or small 

flags and code signal flags may be 

strung from mast to 

mast with good effect. 

The decorator can 
easily arrange a va- 
riety of treatments 
embodying some or 
all of these ideas. 




and by following out the architectural suggestions of 
each building will obtain sufficient variety to avoid 
repetition. 

Two things are to be carefully considered in 
decorations of this character. The clanger of fire from 
contact with electric wires, and the changes which may 
be occasioned by the weather. 

To avoid disaster and disappointment, use only 
fast colored materials, drive every nail and tie every 
knot to stay under the strongest wind. 

Various schemes have been used to keep bunting 
draperies from flapping in the wind and lodging upon 
ledges or other projections, thereby destroying the 
effect of the decoration. 

We have discarded all methods of weighting or 
tying the bottom edges, because these methods only 
serve to hold the wind, as does a close-hauled sail, 
and increase the danger of tearing away the decora- 
tion. 

To prevent the drapery from becoming dis- 
arranged, make short festoons, and do not allow the 
top much sag. Use a double alternate drapery, and 
keep it so far away from projections that it will drop 
into place again 
after the gust 
has passed. 

You will 
find if it hangs 
free with only 
its own weight 
to keep it in posi- 
tion that the 
wind will to a 
large extent 
blow off it, and 
it will not be- 
come unsightly. 

Under ordi- 
nary conditions 
the colors red 
and blue used 
with white pre- 
sent a most at- 
tractive combi- 
nation. For 
special occa- 
sions, however, 
any desired col- 
ors may be em- 
ployed, bearing 
in mind the rela- Pig, 50, 



tion of one color to the other and the harmony of 
the whole. 

In different countries the relative position of the 
three colors in a joined red-white-and-blue bunting 
drapery is different (Figure at head of page 26). In 
Great Britain, Netherlands and Paraguay red has the 
place of honor at the top ; in the United States blue ; 
and both observe the old law of heraldry that color 
must be separated from color by one of the metals — 
in this case by white, the emblem of silver. Where 
two colors only are used in combination better balance 
is obtained by having the darker band slightly the 
narrower. As the object sought is brightness, sharp 
contrasts give best results, always bearing in mind 
the correct harmony of related colors. Mourning dra- 
peries should avoid as far as possible fussy or frivolous 
tendencies, the festoons taking on the appearance of 
solemn massiveness, and finished at each extremity 
with a heavy cascade or tail. 

Black, the accepted emblem of mourning, is either 
used alone or mixed with a small percentage of white 
in unobtrusive places. 

Deep purple, symbolical of extreme grief, is 

used in conjunc- 
tion with black 
as the official 
emblem of royal 




weight 



The 

of the materials 
used for exterior 
decorations dif- 
fers according to 
the taste of the 
decorator. We 
have found our 
purpose best 
served by using 
unbleached fac- 
tory cotton of a 
fairly heavy 
weight, having it 
specially dyed to 
the colors in de- 
mand, and for 
white using a 
soft-finished 
bleached cotton 
or a shaker flan- 
nel. 

[3°1 




Fig- S3- 



FESTIVAL 



D F CORATIONS 



PART II 




HEN the nation is 
called on to do honor 
to one high in the 
world's esteem, and 
State, corporation or 
society coffers con- 
tribute to the erection 
of a triumphal arch, 
the experienced deco- 
rator, supplementing 
his knowledge with 
the advice of the 
carpenter, plasterer 
and painter, will submit plans and specifications, and 
will frequently secure the contract. Figure 50 shows 
a quadruple arch placed at the intersection of two 
streets. The frame is built of heavy timbers and 
lathed into the shape of the arches and moldings. 
Then two or three heavy coats of plaster, and a 
smoothing last coat, which is colored dead-white. 

The same effect can be produced with bleached 
cotton stretched tight over wooden frames, the 
molding being covered separately and attached after- 
wards. 

Electricity is an important decorative feature in 
nearly all present-day treatments of any size, and 
serves the two-fold purpose of decoration and illumina- 



tion. Its unquestioned supremacy after dark is a 
temptation to place the entire decoration in the hands 
of the electrician. The result of that is a building 
pleasing by night, but by daylight exhibiting nothing 
more attractive than a temporary wiring and strip- 
ping. 

To produce a satisfactory result the electrical 
and fabric decorations should be planned together, so 
that one will aid the other. 

Ball and banquet decorations are usually planned 
in keeping with the nature of the function, and sug- 
gest by the symbols and emblems used the nature of 
the organization under whose auspices it is held. 
Figure 53 represents a large hall decorated for a yacht 
club ball. This hall is fortunate in possessing a stage 
and gallery, which facilitates its decorative arrange- 
ment. The stage is planned to represent the upper 
deck and pilot house of a large yacht, and is arranged 
for the use of the orchestra. Everything in theyacht's 
furnishings is represented, and the effect is of a vessel 
moored bow on, at the end of the hall. 

Flanking this, on each side, are miniature light- 
houses, made of wood covered with cotton, and fitted 
in the upper chamber with electric lights. The roof 
of the hall is covered in the club colors of blue and 
white, so interwoven as to form four complete club 
burgees radiating from the centrepiece, which is a St. 



3i 



FESTIVAL DECORATIONS 




Sh.T^J tWeJ-flJ 



Andrew's cross, made on a frame and drawn up into 
position. 

The cotton forming the ceiling is first attached to 
the centrepiece and stretched to the outer edges, one 
or two men handling each end of the goods so that it 
can be stretched without showing gaps between. 
Where there is much overhead work, time is saved by 
constructing an upright trestle after the manner of 
Figure 54, which is mounted on large casters, and can 
be moved about from place to place in the room with- 
out the workmen descending. We have used trestles 
of this kind thirty-five feet high, eight feet square at 
the base and three feet square at the top, which 
could be moved about quite easily. 

Immediately below the ceiling is a painted frieze, 
representing primitive and modern methods of naviga- 
tion, the figures sketched on white cotton and heavily 
shadowed to give a relief effect. Separating the figures 
are shields bearing the principal dates and events in 
the club's history. 

The space between the bottom of the frieze and 
the edge of the gallery ceiling is covered with white, 
over which are suspended banners bearing the club 
emblem and the names of the different yachts, and in 
addition to these a double festooning of large white 
cotton rope, with anchor pendants. 

The pillars are pleated from floor to frieze with 



white cotton, which spreads fan-shape above the 
electric light bracket ; a short board is fastened across 
the post, just above the bracket, and another of equal 
length at its base ; the cotton is tacked first to the 
upper block and drawn up to the frieze and tacked 
there. Then commencing at the upper block again 
it is drawn to the lower block and secured. It can be 
done in one piece, but is more easily accomplished by 
using one piece for the fan and another for the 
straight lower part. 

The spaces between the pillars above and below 
the gallery are draped with large tri-color banners, 
gathered as dotted lines, Figures 55 and 55 A, and 
require about two feet of material to each foot of 
space. The banners on the faces of the pillars are 
suspended from boat-hooks, the whole thought being 
to give things nautical particular prominence. 

The drapery on the front of the stage platform, 
with Figure 56, illustrates another method of manip- 
ulating a scarf drapery to secure the necessary full- 
ness for the bottom edge, and take up the excess of 
the top edge, by forming a double pleat at the top and 
gathering the material from the bottom. This method 
is equally applicable to any purpose where the fringe 
is all on one edge of the material, and not reversed, 
and will be found particularly useful with narrow ma- 
terial. The back and sides of the stage may either be 
pleated in with white or covered with marine scenery. 

We illustrate, Figure 57, a booth for exhibition 
purposes which embodies some of the main decorative 




32 




AUSTRIAN SHADES. SEE ARTICLE "WINDOW SHADES AND BLINDS, BEGINNING ON PAGE 39. 



ideas in use. This is built independent of any pillars 
or beams of the building in which it may be used, but 
frequently a booth is so situated that part of the build- 
ing proper is incorporated in its construction. 

In all cases where goods are exhibited for com- 
mercial purposes, the size, shape and appearance of 
the materials exhibited should guide in the construc- 
tion of the booth. Our illustration shows only one 
exposure of the booth which is repeated on all four 
sides. The corners are columns made like Figures 
40 A and 40 B, capped with plaster crowns. The 
roof is made on a shaped frame covered in the same 
manner as the globe Figure 41. The arches are 
curved pieces of wood covered with velvet, and 
radiating from the corners to the arches are spirals of 
twisted ribbon or colored crepe tissue paper. The 
drapery illustrated is a simple reversed scarf drapery 
made as explained in the chapter on scarf draperies. 
The lower portion of the booth shows three methods 
of paneling. The first one on the left is made of one 
piece of material with a circular piece taken out of 
the centre. The piece taken out is equal to about 
one-quarter of the width of the panel and the material 
gathered and fastened in the centre as illustrated by 
Figure 58. After that it is stretched into pleats to 
the edges. 

The centre panel is a quick and effective method 
of covering space. The background is first covered 



plain, then commencing at the floor or bottom of 
paneling stretch the goods out its full width and tack 
the end of it at A — B, Figure 57. Tie a small piece 
of the goods loosely around this at what will be about 
the middle when it is pulled up. Then proceed to 
stretch up the top and tack it along. Draw it out to 
the same width as the bottom and pull out all the 
wrinkles, so that it pleats nicely each way from the 
tied part. After it is tacked in place adjust the tying 
to the exact middle and proceed the same with the 
next one. 

To make the right hand panel, alternate colors of 
material are bunched and tacked in the centre of the 
space and stretched to the outer edge, keeping the 
dividing lines square and true. 

The designs and instructions that we have given 
are sufficient when variously combined and assembled 
for almost any decorative requirement. The main 
things to bear in mind are balance or symmetry, neat- 
ness, and color harmony ; a proper consideration of 
these points will result in a satisfactory trim. 

For interior work the decorator is limited only by 
his price in his selection of material ; but sometimes 
the best effects are obtained without the use of more 
expensive fabrics than those previously mentioned. 
Next in the order of values are sateen, cashmere, 
velours, satin and silk, in plain fabrics, and the endless 
variety of damasks, brocades, etc. 



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N THE eyes of the 
housewife the lace 
curtains are one of the 
most important con- 
siderations in the fur- 
nishing of the home, 
and until they are 
properly in place the 
house does not seem 
to be settled. Con- 
siderable interest is 
usually exhibited in 
the matter of hanging them, and the discussion as to 
the proper method invariably hangs on the following 
queries : 

Should they come to the window sill, a little be- 
low it, or down to the floor ? 

Should they hang straight, be looped back, or 
caught up with a rosette ? 

Should sash curtains, stores or panels be used 
next to the glass ? 

The answers to these and other questions will de- 
pend largely on the architectural position and style of 
the window, the nature of the- room and the purpose 
for which it is to be used. The question of sash or 
glass curtains is usually a matter of taste, and in the 
majority of cases they are used for outside appearance 
only. The examples of different styles presented here- 
with cover a fair range of treatments, which can be 
easily added to or modified, as the occasion demands. 
Sash curtains to hang straight are made as Cur- 
tain A, Figure 59, and reach from the top of the win- 
dow sash to nicely clear the sill. They may be shirred 
on a rod or attached to rings. 

If the material is liable to shrink when laundered 
it is customary to turn in an extra allowance of one 
or two inches at the top (according to the length of 
the curtain), to be let down when required. Sash 
curtains hanging straight, as Figure 59, reduce the 
apparent width and increase the height of the win- 
dow, and should not be used on long, narrow windows. 
If made of plain or dotted material they may be 
edged with lace or ruffle on the sides and bottom, or 
finished with a deep hem, as Figure 67,. with or with- 
out an insertion. 

Sash curtains to loop back, as A, Figure 60, are 
made about six inches longer than the length of the 
window from top to sill, with shrinking allowance 
added, and produce the opposite effect to straight 
curtains, seeming to increase the width and reduce 
the height. They may be made of bordered goods or 
of plain or dotted material edged with lace or ruffle of 
itself. Looped curtains give a jaunty, cheerful ap- 
pearance to the exterior of a house, but do not look 
well on wide, short windows, unless left widely separated 



at the top. Stores bonne femme, as illustrated, Figure 
61, Curtain A, do not materially alter the apparent 
size of a window, and are very effective on large win- 
dows. They are usually made with scalloped bottom 
edge, trimmed with a frill eight or ten inches deep, 
and edged with lace. 

For a wide window the body of the curtain is 
sometimes divided into panels by rows of insertion, in- 
stead of having a motif or lace pattern set into it, as 
illustrated. 

The material used is usually a fine etamine, madras 
or fine net. They are hung on a rod fastened to the 
top or just inside the frame (see Rod E, Figure 78) 
so that they will hang next to the glass, as sash cur- 
tains, and are usually made to just clear the sill in 
length and very slightly full in width. 

The upper part of the window in Figure 68 is a 
combination of the bonne femme and Austrian shade, 
and makes a very effective sash or glass curtain for 
dining-room, library or bedroom. They are made in 
the same manner as the Austrian shade explained 
later, except that they hang stationary, and do not 
raise or lower. The material may be plain or colored 
silk, net, challie, casement cloth, or madras, with in- 
sertion of any desired style, and edged with lace to 
match. In colored materials good effects can be ob- 
tained by using a contrasting color for the insertion. 

The curtains on the lower sash are attached to a 
rod placed at I, Figure 78, and are trimmed to match 
the curtains on the upper sash, they hang free at the 
bottom and just clear the sill, the insertion across the 
bottom placed high enough to show clearly through 
the glass from without. They may be used in con- 
junction with the upper curtain, as illustrated, or may 
be used alone, and are usually sewn to rings, as Fig- 
ures 70 or TJ. 

Lace panels with motif centre, as A, Figure 62, 
are quite largely used for clubs, hotel or institution 
windows, and in many cases for dwellings also (though 
some think them too severe for the latter). Wherever 
used they should be perfectly proportioned and shaped 
to fit the size and shape of the window, the design so 
executed that it shall be entirely visible from without, 
and appear as a picture framed by the window sash. 

They are generally made to order by applying 
lace insertion and motifs to net, and are attached to 
the sash by rods, tacks, or, what is still better, make 
a small wooden frame of strips one-half inch by three- 
quarter inch and wrap it neatly with cotton the same 
color as the net, baste the panel to the cotton and at- 
tach it to the window sash with small brads. This 
frame is only slightly visible through the panel on 
the inside and completely hidden by the sash from the 
outside. 

To attach a panel to a door where the glass is 



35 



LACE CURTAINS 



framed by fancy moldings, the small frame is made as 
above to fit into the sash against the glass. It is fin- 
ished to match the woodwork of the door, and has a 
groove on the outer edge to receive a small, soft cord, 
tacked or glued in place, and projecting sufficiently to 
permit the edge of the panel to be sewn to it (see 
Figure 63). Care should be taken in measuring for 
panels, as the effect is completely spoiled by a misfit. 

Sash curtains, stores or panels, when properly 
applied, add greatly to the exterior appearance of a 
house, but should be uniformly applied to all windows 
visible from the same quarter. For instance, if sash 
curtains are used on the front drawing-room windows, 
all of the front windows, from basement to attic, should 
be treated with some form of sash curtains adapted to 
each individual space and in harmony with the whole. 
Nearly all glass curtains are provided with a double 
hem at the top, Figure 64, through which is passed a 
small rod fastened at each end to the stops or frames 
of the window in such a manner that the sash will work 
freely if raised or lowered. (See E B, Figure 78.) 

In some cases it is desirable to apply a peek-a-boo 
sash curtain to the lower sash to render it opaque 
from without and not exclude the light. This is ac- 
complished by using a curtain with a double hem at 
top and bottom and attached (as illustrated A, Figure 
65) so that it raises with 
the sash and does not 
touch the stop on either 
side. (Note Rods I and 
G, Figure 78.) 

The pleats are 
stretched tightly from 
top to bottom, and the 
usual allowance for full- 
ness is twice the width 
of the space to be cov- 
ered, which may vary ac- 
cording to the density of 
the material. 

It is natural that the 
ground floor windows 
should be more densely 
dressed than those of the 
upper floors, not only to 
impart a sense of pri- 
vacy, but as following 
the general construction 
of ordinary buildings, 
the ground floor windows 
usually being larger and 
more heavily trimmed, 
and as the treatment 
ascends from floor to 
floor permit the curtains 
to be less weighty in 
character and expose a 




larger area of uncovered glass. By lace curtains we 
mean that class of furnishing familiarly known to the 
trade by that name and comprising all of the various 
styles of net and patterns. 

The sizes usually carried in stock run 2, 2] : , 3, 
3 1 j and 4 ' J yards long, and vary in width from one 
to two yards. 

Where the decorator has not the necessary 
equipment for making special sizes and designs he 
is compelled to employ more or less of these ready- 
made furnishings. Briefly stated, these for the most 
part consist of plain or fancy nets, scrim or muslin 
with a pattern of lace or muslin appliqued thereon or 
woven in with the net, and the edges finished with 
bound or overlock stitched scallops, a lace, or a ruffle 
of the same material. 

The method of hanging these curtains depends 
to a great extent on their surroundings, and on the 
nature, style and use of the room in which they are 
used, and while it is not possible for us to give posi- 
tive rules that will guide the decorator in every case, 
we illustrate some of the effects that may be produced 
by the different methods, and suggest their adapta- 
bility to various requirements. 

In the absence of special reasons to the contrary, 
it is a safe rule to hang any style of lace curtains in 

the way that will best 
display the beauty of the 
pattern or fabric ; thus 
a heavily worked border 
and body pattern would 
show best hanging 
straight, while plain bod- 
ied goods with a small 
pattern would look well 
either way. 

Setting aside for the 
moment all thought of 
the size and shape of the 
window, long curtains 
hanging straight to the 
floor, as Figures B 60 
and B and C 67, appear 
to curtail the floor space, 
.while curtains looped 
back or caught up with 
rosettes, as 61, 62, 65 
and 66, apparently in- 
crease it, therefore in 
small rooms it is usually 
an advantage to tie up the 
curtains, and in extra 
large rooms t o allow 
them to hang straight to 
the floor, subject, of 
course, to other consider- 
ations equally desirable. 

[36] 



LACE CURTAINS 



■ If sash curtains are used it is usually a good plan 
to hang the long curtains to be the opposite of the 
sash curtains ; that is, if the sash curtains hang straight 
loop the long curtains, and vice versa. In this way the 
treatment will balance, and a neutral effect be obtained, 
as Figures 59 and 60. Bear in mind also in this connec- 
tion our former statement that long curtains hanging 
straight reduce the width and increase the height of 
the window, while curtains looped or caught up with a 
rosette reduce the height and increase the width. 

Curtains reaching only to the sill, or just below 
it, as Figure 68, have a tendency to shorten the win- 
dow, and if looped or draped this effect is increased. 

Sash curtains, stores, panels, or any other style 
of glass curtains, are hung with the right side of the 
goods to the glass, unless the windows are so far re- 
moved from ordinary vision that it is impossible to 
discern the difference. Long lace curtains are hung 
with the right side to the room where sash curtains are 
used, or the reverse way when hung alone, subject to 
the above proviso in reference to the difference being 
perceptible from without. 

We illustrated in Figures 34 A and 34 B, chapter 
on scarf draping, the method of gathering back a 
curtain for looping and for draping with a rosette, and 
lace goods are manipulated in the same way. To ob- 
tain the effect illustrated in Figure 61, Curtain B, 
attach the curtain at the top, allowing it to be from 
six to eighteen inches longer than to the floor, hold 
the edges of the curtain in each hand and pleat it for- 
ward and back from the bottom, as illustrated in 
Figure 69, until it is pleated up to where you desire 
to fasten the loop ; hold the outside side edge there 
and release the inside edge and it will fall in a fan 
shape, as illustrated ; the loop is then passed around, 
the pleats still retained, and the surplus of about six 
inches above the tying pushed back and down behind 
the edge of the curtain, as shown. 

Lace curtains may be shirred on to the pole or 
rod by making a double hem at the top, as illustrated 
in Figure 64, the distance between the two stitchings 
A and B a little less than twice the diameter of the 
pole, to allow for shrinkage. Thus, for a one-inch 
pole, which would measure loosely three and one- 
eighth inches in circumference, you would require to 
allow about one and seven-eighths inches between A 
and B, making three and three-quarter inches of a 
pocket for the pole to pass through. 

A pretty effect is produced (Figure 70) by 
running a tape into a small double hem (leaving one 
inch for the heading and half an inch between A and 
B for the tape) and shirring the curtain to the width 
of the space it is to cover, after which rings or hooks 
are sewn to the back in the position indicated by letter 
A above Figure 70. 

Curtains made of soft net or muslin, with a very 
small border or soft ruffled edge, look well shirred, 



but those having heavy pattern borders look best 
pleated. 

Where it is possible to do so the top of the curtain 
to be pleated should be turned over about two inches 
(Figure 71) and a tape about one inch wide sewn 
along the back where the pins will be inserted. This 
gives strength to the delicate fabric where repeated 
pinning is apt to cause its destruction. 

If this cannot be done, spread the curtain out 
upon the floor or other flat surface, face downwards, 
and turn over about six inches of the top, smooth 
this down nicely and fold it again in the middle, or 
three inches from the top of the first fold, press it flat 
with the hands and pleat and pin it while in this posi- 
tion, the pins being inserted about two inches from the 
top edge (Figure 72). 

Curtain B, Figure 61, with Figure 73, shows a 
box pleat slightly gathered on a safety curtain-pin, the 
fullness being taken up equally in the pleats. 

In curtain B, Figure 59, with Figure 74, the full- 
ness of the curtain, instead of being pleated, is gathered 
on to the safety pin, but this can only be done with 
fine curtains. The fullness is equally divided among 
the pins, and the tops of the small pleats are spread 
into a small fan shape, making a dainty finish beneath 
the pole. 

The pleat illustrated in Figure 67 C and 77, is a 
straight pleat, held in place by the curtain pin, and is 
most commonly used for all purposes. 

Turn the pleat to the front edge of the curtain on 
the wrong side, which lies upwards, as you pin it, and 
that will make the pleats turn to the back edge on 
the under or right side, as illustrated in Figure 72. 

If a small curtain the pleats may be formed and 
the rings sewn on as Figure 77. 

Lace curtains hanging straight, as in Figure 60, 
Curtain B, should just nicely clear the floor, and to 
adjust this to a nicety we have found it a good plan 
to pin them so as to clear the floor by about two inches 
(not more), and then gently stretch them down this 
distance. 

To stretch them, place an outspread hand on each 
side of the curtain, and, pressing the two palms 
together, stretch gently, a little at a time, working 
across the curtain from one side to the other until it 
is the required length. This must be done very care- 
fully, and if the curtain is not found pliable enough to 
stretch the required distance pin it over again, allow- 
ing it to be longer. 

Curtains having a distinct pattern, as figure 72, 
are usually pleated as there indicated, without any 
pleats in the border, the fullness being all taken up 
by pleats in the body of the curtain, and where fabric 
over-curtains are used, as Curtain C, Figure 67, the 
over-curtain should not be permitted to cover the 
border of the lace curtain. 

Over-curtains are always better on a separate pole, 



37 



LACE CURTAINS 



but may be attached to the same pole as the lace 
curtains by using extra rings for them. In the eleva- 
tion detail, Figure 78, Rod B is for lace curtains and 
Pole A for the over-curtains, a plan that permits cither 
curtain to be drawn without interfering with the 
other. Over-curtains may be used at the discretion of 
the decorator in almost any room, and are particularly 
effective in large rooms. They may hang straight or 
loop back, having the same effect on the apparent size 
of the window as already explained. They should be 
long enough to just clear the floor, whether straight 
or looped back, and should cover the back edge of the 
lace curtains. 

When gathered back, as in Figure 62, the lace 
curtain and over-curtain should be looped back separ- 
ately, the over-curtain drawn back far enough to show 
a good border of lace down the front edge and across 
the bottom. 

Narrow windows in large rooms may be made to 
appear wider by making the pole or cornice project at 
each side and pleating the curtain to cover part of the 
wall at each side. The pole or cornice should be placed 
high enough in this case to entirely conceal the top of 
the wood trim, as in Figure 67 ; but in cases where it 
is advisable to show the wood trim at the top it should 
be shown also at the outside, as in Figure 68, which 
shows the trim all around. Over-curtains are pleated 
to the size as illustrated by Figure 72 for lace curtains, 
or shirred on a tape, as in figure 70, and lambrequin 
hooks or rings sewn on. A lined over-curtain, if to 
be pleated for pinning, is made as the right corner of 
Figure 75, the two materials turned in and slip stitched 
at the top and sides and machine stitched as indicated, 
about one and one-half inches from the top of the 
curtain. The curtain is spread out right side up for 
pinning, the pleats formed and a Gordon hook pin (as 
Figure 76) is passed through the pleat between the 
two lines of machine stitching. Use the straight 
pleat of Figure 72 for this purpose, making as many 
as may be necessary to dispose of the fullness. If the 
the over-curtain is not to be lined turn the top over as 
the left corner of Figure 75, and stitch and pin as 
already explained. 

Soft curtains finished with a full ruffle usually 
look best looped back, as B, Figure 65, or if fastened 
with a rosette the edge drawn up near the rosette to 
give a full sweep to the ruffle, as Figure 66. 



If the curtain is made of very fine or soft net 
graceful effects are produced by using two rods at B, 
Figure 78, one a little in advance of the other, and 
both the same height ; shirr one curtain on each rod, 
so that when tied back the crossed effect is produced, 
as illustrated. 

A great variety of styles can be produced in either 
crossed or single curtains by changing the position of 
the loop or rosette, and a good way to acquire the 
different styles is to take a pair of curtains and see 
how many different effects you can obtain by tying 
them at different heights and by manipulating the 
fullness in different ways. Crossed curtains are not 
effective unless the curtain is lacy and soft enough to 
drape gracefully. Heavy patterned curtains treated 
in this way do not produce good results. 

Frilled curtains, as Figure 65 and 66, are more 
particularly suitable for bedrooms, sewing and sitting- 
rooms, but with proper surroundings may be applied 
to some of the heavier down-stairs rooms during the 
Summer season. 

Frilled curtains made up as sash curtains are also 
very effective next to the glass, but should be made 
of very soft material that will drape easily and grace- 
fully. 

Sash curtains, lace curtains or over-curtains 
should be pleated to the exact width of the space they 
are to cover, sufficient pins being used to dispose of 
all the fullness and hold the top edge of the curtain 
from sagging between each pin. 

This may seem a small thing, but to those accus- 
tomed to neatness the sloppy droop of the top edge of 
a curtain from pin to pin is extremely distasteful and 
would spoil an otherwise neat arrangement. 

In hanging lace curtains having a prominent 
pattern it does not always follow that the same distance 
turned down at the top of each one will bring the 
patterns in line, and it is well to spread them in pairs 
side by side and match the pattern, so that when hung 
the pattern will be perfectly true and not zig-zag all 
the way up the two middle edges. 

We have given the simpler forms of pinning and 
tying, which may be easily mastered by practice. 
Numerous other forms will suggest themselves, and a 
proper consideration of the effect to be produced will 
result in the selection of the style most suited to each 
requirement. 









LOUIS XI V 




^ 



k 
o 



WINDOW 



SHADES 



AND 



BLINDS 



PART I. 




ODERN decorative 
thought has been 
directed to almost 
every article in the 
equipment of a house 
with more or less 
artistic result ; but 
with few exceptions 
the articles on the 
market for the pur- 
pose of excluding the 
sun or shutting out 
the vision have been 
plain and ordinary in the extreme, despite the fact that 
the treatment of the windows as presented to view 
from the exterior has much to do with the general 
appearance of a house. 

From the day when the housewife made her own 
shades out of green paper or white cotton up to the 
present, the chief requirements seem to have been 
opacity and the faculty of being easily rolled, folded, 
or in some way put easily out of sight when not in use. 
One of the oldest methods, still reco'mmended and 
manufactured for this purpose, is the rolling shade, 
made of thin slats of wood, laced together with twine 
to form a flat flexible curtain or shade, rolled from the 
bottom by means of a cord passed over a pulley. 

For public institutions, offices or verandas, where 
usefulness and efficiency may be desired more than 
decorative value, they serve the purpose very well ; 
but it can never be claimed that they tend to beautify 
the room in which they are used. 

The tilting slat blind, which gathers from the 
bottom, and tilts with a touch of the hand as a child's 
Jacob's ladder, is also used for the same purpose, with 
the same limitations. 

The sliding or folding inside shutter, illustrated 
•in figures 79 and 80, came near to accomplishing the 
purpose, but had such a knack of getting out of order, 
and presented such a jail-like, uninhabited appearance, 
that they, too, have been almost altogether discarded. 
In rare cases we find them still in use, and where 
adverse criticism would not be well received it is best 
for the decorator to adj ust his schemes so as to include 
them, and, if possible, hide their unsightliness. 

Figures 79 and 80 illustrate how this may be 
accomplished by using a lace-trimmed shade between 
them and the glass, while sash curtains of almost any 
kind are equally effective for outside appearance. 

Where the shutters are so constructed that they 
open into the room, as Figure 79, the curtain pole 
must be projected forward from the frame a sufficient 
distance to allow the shutter to swing clear of the 
curtain without interfering, and if the curtain is looped 



or caught up with a rosette at the side, the point 
where it is tied must be projected forward in a similar 
manner. 

These blinds, so far as their manufacture and in- 
stallation are concerned, rest perhaps more with the 
carpenter than with the decorator, and will, therefore, 
interest him little except as to their after treatment. 

The rolling shade, made of painted cotton or 
glazed linen, as illustrated in Figure 79, is perhaps 
most commonly known of all expedients for seclusion 
and sun protection, and the ease with which these 
shades can be made to order in any size is so well 
known that nearly every upholstery shop is equipped 
with a cutting table and the necessary material for 
their manufacture. 

The table illustrated in Figure 81 will be found to 
possess a combination of many good points in cutting 
tables for this purpose, although one less elaborately 
planned and constructed may serve for a small shade- 
order business. The top is made of clear white wood, 
and is six feet wide by twelve feet long. At one end 
is a half round, trough-like receptacle, the bottom of it 
composed of two-inch rollers with pin heads (see 
Figure 81 A for detail); these rest in iron brackets, 
and revolve when necessary with the action of rolling 
or unrolling shade cloth. 

A flat steel plate about one inch wide and a 
quarter of an inch thick (or slightly thinner if more 
convenient) is fastened to one edge of the table to 
form a solid straight-cutting edge. It should be all in 
one piece and free from any irregularities, and a simi- 
lar plate is fastened to the end on which the bracket 
is attached. Saw-cuts about one-eighth of an inch 
deep run across the table, perfectly true and at right 
angles to the side of the table, dividing it into feet 
from end to end. At the bracket end, and included 
in the first twelve inches, a six-inch strip of hardwood 
is let into the top, flush with the rest, and has saw- 
cuts (as illustrated in Figure 81 A) one-half inch, two 
and a half inches, three inches, three and a half, four 
and four and a half inches from the outside edges of 
the steel plate. 

These are scoring lines for marking the hems, 
and should be half an inch deep and about one-eighth 
inch wide. The cuts marked one to eleven are filled 
in smoothly with dark putty, and are for measuring 
purposes, while cuts A to F are cut with a fine-tooth 
saw and left as cut: In addition to the lines every 
twelve inches it is necessary to have the inches be- 
tween these spaces. 

A convenient way of providing these is a flat steel 
rule about one-eighth inch thick, three inches wide 
and eighteen inches long, marked with inches from 
one to twelve, and with a small button at the end for 



39 




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WINDOW SHADES AND BLINDS 



convenience in moving it. This will be heavy enough 
to lie where placed, and by placing it at the side of 
the table between the lines, as in Figure 82, the 
measurement of a piece of cloth can be accurately 
gauged. 

The other sections of the table and their purposes 
can be readily understood from the illustration, the 
shelves being used for rollers, drawers one, two, three 
and four for shade hardware and accessories, and 
drawer five for tools. 

The trough at the right end of Figure 82 is made 
so as to slide in out of the way when not required, and 
is used when cutting the ends off rollers. It is marked 
in inches along its entire length, and the cutting end 
is faced with metal, or has a true saw-cut a short 
distance back as a guide for the saw. In the latter 
case it should be made of hardwood, and the saw-teeth 
should have very little set. 

The table should be placed so that the oper- 
ator faces the light, and his stock of materials should 
be as convenient as possible to the cutting table. 

Having gauged the length of the shade with the 
small steel rule, as Figure 82, place the roll of cloth 
with the end of the material resting at the mark. 
Weight it with a small weight and unroll the cloth 
until the roll reaches the receptacle at the end; a 
touch of the hand will tighten the slack by revolving 
the roll; adjust it evenly and run the knife along the 
steel edge, severing the piece from the roll. If more 
than one shade of the same length are to be cut from 
the same roll, allow this length to lie as cut and unroll 
over it as many more pieces 
as you need, cutting each one 
as you get the cloth adjusted 
evenly. 

When the lengths are all 
cut, if care has been taken to 
have the cloth running true 
with the edges of the table, 
the cut ends will have been 
trimmed square by the action 
of severing them from the 
roll. Adjust the edges near- 
est the cutting side of the 
table so that they lie even 
and project about a half inch 
over the edge of the table, 
as Figure 82, and the cut 
ends lying true and even 
with the table end, the cloth 
is securely weighted at each 
end and the projecting edges 
trimmed true by running the 
knife along the cutting guide, 
as illustrated. 

The knife should be held 
perfectly true with the flat 

[41] 



«#*** 




of the steel edge, allowing no play sideways, and with 
the handle slightly slanting toward the shoulder of 
the operator (Figure 82). 

While the weights are still in position measure 
with a six-foot rule the width the cloth is to be cut, 
measuring from the trimmed edge, and mark it at each 
end as x x (Figure 82). Now remove the weights, and 
without allowing the trimmed edges to shift, change 
the cloth end for end on the table, bringing the pencil 
marks at each end directly above the side cutting edge 
of the table, and with the ends of the cloth projecting 
sufficiently beyond the end cutting edge ; weight as 
before, and trim the surplus off end and side. 

It is more difficult to trim a number of pieces than 
to trim one, but with a little practice it can be done 
quite easily and considerable time saved thereby. 

As the cloth now lies it should be even with the 
steel edges at end and side, the left hand ends lying 
over the scoring lines, and as they lie one or more 
may be scored at once, according to the weight of the 
cloth. Roll back the rest a sufficient distance, and 
holding the rounded corner of the back of the knife 
in the position indicated by Figure 83, draw it across 
the first score line A ; do not bear too heavy on the 
knife, but make sufficient indentation so that it can 
be folded over without trouble. 

If the shade is to have the regulation two-inch 
hem score also at the second line B, if for a two and a 
half-inch hem score A and C, for three-inch A and D, 
and so on according to the width you desire to make 
the hem. All ordinary shades have a two-inch hem, but 
special cases require a varia- 
tion from the rule. 

Fold the hem over as illus- 
trated in Figure 84, and press 
it flat with the side of the 
knife ; it is then ready for 
stitching. 

While almost any sewing 
machine will stitch a window 
shade, perfect results are 
only obtained by using a 
special shade-stitching ma- 
chine. 

Care must be exercised in 

stitching the hem so that it 

does not slide or pucker, but 

lies flat and even, with the 

line of the stitching as 

straight as possible. 

If lace is to be applied to 

the bottom of the shade, as 

Figure 79, the knife is run 

over the bottom of the hem 

after stitching it to press it 

flat, and then passed through 

it, as Figure S5, and the lace 




inserted between the edges and stitched, as Figure 86. 

If insertion is used without lace, as Figure 87, 
the top edge of the insertion is placed between the 
cut open edges of the hem, as above described for lace, 
and a separate hem (A — A, Figure 87) scored, folded 
and sewn on, as illustrated. If both lace and insertion 
are to be applied the bottom of the separate hem (A, 
Figure 87) is split and the lace inserted and sewn in, 
as above. 

This separate hem is made the same width as the 
ordinary hem for shades, but need not have the little 
turn in indicated by arrow in Figure 84. 

When cutting lace or insertion measure it so that 
the pattern will balance nicely, and if both lace and 
insertion are used be careful to have the pattern of 
the insertion in line with the lace. After these trim- 
mings have been cut the size of the shades, the cut 
ends are bound by sewing them between the edges of 
a piece of the same cloth as the shades, say half an 
inch wide, folded in the middle, and for convenience 
a number of the ends can be stitched into the same 
piece of binding, as illustrated in Figure 88, and after- 
wards separated by cutting the binding. 

Motif patterns, as Figure 90, are applied to the 
shade by a double row of stitching, about one-quarter 
of an inch apart, all around the outside edge of the 
motif, after which the cloth is carefully cut away from 
the back, just below the stitches and following the 
outline. Should the pattern prove too large to work 
beneath the arm of the sewing machine, pin it care- 
fully in place on the shade and sew it on by hand, 
passing the needle down and back as neatly as pos- 
sible. This is a tedious job, and should only be re- 
sorted to when no other way seems possible. Applique 
lace edges, as Figure 91, are sewn on in the same man- 
ner, and the cloth cut away from the scallops behind. 

The shade illustrated in Figure 80 is a combina- 
tion of the bonne femme and motif shade, and is con- 
structed like the foregoing Figure 91, having in addi- 



tion a frill eight or ten inches deep, composed of 
etamine, madras, mull, muslin or net, and trimmed 
with a lace. This is applied to the scalloped edge of 
the motif, and has usually an allowance of as much 
again for fullness (two feet of unshirred frilling to one 
foot of space), or if very fine a little more. 

When applying the shirred frill to the scallops, 
have the greatest fullness between the points B and C 
(Figure 80 A), and decrease the fullness from B to A, 
for as the material follows the curve up into the angle 
at point A, it will be found that the bottom edge of 
the frill becomes more full according to the eleva- 
tion of point A above point C. 

Lace motif and scalloped bottom shades may be 
made with a hem and slat, as illustrated in Figure 80, 
or the slat may be dispensed with and the shade 
operated by a cord which passes through a screw eye 
at A (Figure 90), and winds around the roller, which 
is left long enough for the purpose. The cord is 
wound around the roller the same number of times as 
the shade and attached by a fair- sized tack. The 
roller need not be provided with a spool unless the 
shade is extra long, as the screw eye at A will guide 
the winding and confine it to a small space. Figure 
90 shows the cord and ball pull attached to the left 
end of the roller ; but the tack which fastens the cord 
would be likely to penetrate to the spring on that side, 
and it would be best to attach it to the right end of 
the roller. 

The shade is operated by pulling the cord, and 
works the same as with the tassel in the regular 
way, as Figure 92. 




42 



W I N D O W 



SHADES 



AND 



BLINDS 



PART II. 




LL other shades except 
the previously men- 
tioned styles are pro- 
vided with a slat to 
which is attached a 
screw-eye and tassel, 
as illustrated. Always 
attach the tassel 
above the insertion 
on insertion shades, 
as Figure 79 and X, 
Figure 87,as the strain 
of pulling the shade will stretch the insertion out of 
shape if fastened below. (See diagram on page 40 ) 
The cloth is not hemmed at the sides, but left as 
trimmed, and the top is tacked on to the roller in a 
straight line, as Figure 93. Most shade rollers have 
a line drawn the length of the roller as a guide for the 
shade cloth, and one-ounce tacks are used to tack it to 
the roller. Several kinds of clips or clasps are also 
used, but the tacks are most popular. 

Standard sizes of shade rollers in both wood and 
tin are guaranteed by the makers to carry ordinary 
cloth up to a certain size for each roller, but it is safe 
to underestimate their assurance by a little rather 
than work up to the limit. 

The roller is cut to be one and a-half inches longer 
over all than the width of the cloth, and is mounted to 
allow the same play at each side, though in special 
cases this rule may be departed from, 
and a smaller allowance for play will 
sometimes work quite freely if hung 
perfectly true. It is customary to 
allow only one inch difference between 
cloth and roller for inside brackets, 
as they are usually made narrower 
than those for outside brackets, and, 
the bracket being much smaller, 
they work freely with the smaller 
allowance. 

Dark-colored shades are most 
opaque, but light-colored shades 
give a more cheerful appearance to 
the exterior of a house. Combination- 
colored shades are frequently used ; 
light on the outside to the glass and 
dark on the inside to the room. This 
gives the necessary density and 
preserves the cheerful exterior of 
light-colored shades. In making 
combination shades the bottom hem 
is cut off, reversed, and sewn on as 
illustrated by Figure 89. The chief 
objection to combination-colored 

[43] 




shades is the fact that the dark color is exposed to view 
in the room whenever the shade is pulled down, and 
the window cannot be at all obscured without this 
feature. 

Perhaps the best plan for correctly shading and 
obscuring a window is to use double shades, as illus- 
trated by Figure 90; the outer shade next to the glass 
made of a light-colored material, which may be orna- 
mented and decorated in any desired manner. This 
may be fastened to the window stop as at A, Figure 
79, with inside brackets, or at C, Figure 90, with out- 
side brackets. 

If placed on the stop at A, Figure 79, a plain shade 
of dark green or other opaque color is placed on the 
frame at C-C, Figure 90, and is made wide enough to 
effectually shut out all sunlight at the sides. 

If the light shade is placed on the frame at C-C, as 
Figure 90, the dark shade is placed just beneath it at 
D-D, and is made about two inches wider than the 
light shade, so that the cloth of the light shade passes 
freely between the brackets at D-D and does not in- 
terfere with the dark shade. 

The advantage of this plan is that the light shade 
may be used all the time and is decorative from both 
sides, while the dark shade is only used when needed, 
and when not in use is only a small dark roll at the 
top of the window, where it is not objectionable. 

The dark shade must be provided with a small 

cord or chain reaching down a convenient distance 

when the shade is completely rolled 

up at the top. Roller shades are 

hung perfectly level and square, no 

matter how much the window may 

be out of true, as they will only 

work satisfactorily when so hung. 

The two different kinds of brack- 
ets used are illustrated by Figures 93, 
outside brackets, and 93 A, inside 
brackets — outside meaning on the 
face or room side of the window 
frame and projecting toward the 
room ; inside meaning some portion 
of the woodwork facing to the 
centre of the window (see diagram 94). 
Wood rollers are made with two 
slots or notches in the spring-post, in 
which the pawls drop when slowly 
revolving, and as they are on opposite 
sides of the roller, it is immaterial 
which side is uppermost as it lies 
in the bracket. 

Most tin rollers, however, have 

only one slot, and if dropped into 

the bracket with the slot down, the 



WINDOW SHADES AND BLINDS 



pawl, which depends on its weight for its action, will 
not come in contact with the slot, and the shade will 
not remain cbwn when unrolled. Should you acci- 
dentally place a shade in the brackets thus wrong side 
up, unroll it altogether and push a small wire or stout 
pin through the hole you will find punched through 
the roller directly behind one of the pawls and force 
the pawl up into the slot, when the tension of the 
spring will hold it in place so that it can be taken out 
and put in properly. 

It is sometimes necessary to run shades from the 
bottom of the window instead of the top, as in the 
case of a icind-top window (Figure 95), or when the 
object is obscurity without excluding necessary light, 
as in some office windows. This is accomplished by 
placing the brackets at the bottom of the window, as 
illustrated by Figure 95, the slot bracket to the right, 
placed upright on the sill, and a small nail inserted in 
the little holes found near the edge of the opening, to 
prevent the roller from leaving the bracket. Stop the 
action of the pawls after the shade is adjusted by a clip 
made for the purpose (squeezing soap in behind them 
answers very well), so that all the tension of the spring 
is exerted on the cloth and on the cord, which passes 
over a pulley at the top of the window. 

This pulley may be an ordinary pulley and the 
cord attached to a small cleat at the side of the frame 
to hold the shade the required distance, or an eccen- 
tric stop-pulley may be used, which binds the cord at 
the will of the operator, the latter being the more con- 
venient method. 

Round-top shades are provided with extra slats at 
various distances, as illustrated by Figure 95, which 
prevent the edges of the shade from flapping as they 
might unless so supported. These slats are perfectly 
flat, made of clear wood about one-eighth of an inch 
thick and one inch wide, or larger, according to the 
strength required, and, being flat, they readily roll up 
with the shade. 

The slat used in the bottom of shades is usually 
made wedge shape, as Figure 92, and possesses more 
strength than the perfectly flat slat. 

As we have already stated, roller shades are usu- 
ally made of painted cloth or glazed holland, and while 
for years they have been, with few exceptions, plain 
and undecorated as to the fabric itself, we are pleased 
to note recent efforts on the part of manufacturers to 
produce something more distinctive and artistic, shade 
holland now being produced in delightful damask 
effects in a variety of weaves and colors, while the 
painted goods are also being made to order in beauti- 
ful hand-decorated patterns of artistic merit. 

The Austrian shade illustrated by Figures 96 and 
96 A is a very pretty and effective method of diffus- 
ing and softening the glare of the sun without exclud- 
ing the light. 

They may be made of a great variety of fabrics, 



including challie, casement cloth, plain and brocaded 
silk, silk or wool damask, madras, net, or other soft 
material of sufficient strength and fast color to with- 
stand the sun, and are a very effective combination of 
shade and sash curtain. They are simple of construc- 
tion, but must be accurately and neatly made to in- 
sure satisfaction. 

Having secured the size of the window and deter- 
mined the space the shade is to cover, the goods are 
joined up to the required size, allowing a third of 
the space (four inches to the foot) each way extra for 
fullness, with about three inches allowed in addition 
for double hem at the top and also for a single hem 
on each side. Calculate so that the seams will come 
on one of the shirrings each time when joining for the 
width, as they will not show there and are very un- 
sightly anywhere else. 

The material, when ready, is spread flat on the 
table, as Figure 97, and the width divided into the 
requisite number of panels and marked in straight 
lines for shirring. Turn the double hem at the top 
for the rod, and a single hem on each side of one or 
one and a-half inches. Baste these hems and sew 
them. Then spread the material on the table again, 
as illustrated, and with a stout thread gather each 
shirring line into the required length, fasten each end 
of the thread to the table with tacks as you gather 
them, and when all gathered go over each one and ad- 
just the fullness until it is nicely distributed the 
length of the curtain. Leave the lower one-third of 
the curtain slightly less full than the upper two-thirds, 
for when in place it is generally left fastened about 
half way up the window, and if this is done, the lower 
end, which is all pleated on the strings, does not look 
so much more full than the upper portion, which is 
hanging as shirred. 

Cut strips of paper one inch wide and as long as 
the shirring-thread and pin them along each shirring, 
the pins sufficiently close to hold the fullness in place. 
When all pinned in place, the tacks are drawn and the 
curtain turned paper side down and run through the 
machine (the paper is used to prevent the machine 
feed from disturbing the fullness), using the thread 
as the line for stitching. The paper is then torn 
away and the shirrings run through the machine a 
second time for safety if very stretchy material is 
used. 

Spread it out on the table once more, face side 
down, and on the back of the shirrings baste a quar- 
ter-inch baby ribbon or tape to match the goods, and 
stitch this also. Sew small brass rings to these tapes, 
as illustrated in Figure 96, about six inches apart, 
along the full length of each tape or ribbon. Shirr 
the double hem at the top to the required length and 
stitch a tape to it also, to keep the panels equally 
divided, and trim the bottom with a fringe. 

The bottom of the shade need not be scalloped 



44 



WINDOW SHADES AND BLINDS 



unless the ^material is heavy, as the act of shirring it 
lengthwise and across forces the fullness to take that 
shape. 

The bottoms of the shirrings are weighted to keep 
the lines perpendicular. This is accomplished either 
by a smill rod covered with the material, as left of 
Figure 96 A, or by small bags of shot covered with 
the material and attached to the bottom of each shir- 
ring. 

The rod, while not so unobtrusive as the bags, 
has the advantage of keeping the bottom spread full 
width, separate weights having a tendency to swing 
toward the centre. 

The shade is drawn up and lowered by means of 
cords passed through screw-eyes at the top of the 
window, down through the brass rings and attached 
to the bottom weights. After passing through the 
screw-eyes at the top they are led to a pulley at the 
side, as indicated by Figure 96, and all adjusted to 
draw evenly, fastened together and attached to a 
cleat. They may also be manipulated by attaching 
the cords to a shade roller after they pass through 
the screw-eyes. 

The roller is provided with spools either turned up 
in wood or made by tacking a ridge of leather around 
the roller, allowing a spool-like space between, and the 
cords are wound several times around these, while the 
shade hangs full length ; the free bottom ends are 
then attached to the weights, as before explained, and 
the whole manipulated by the free cord at the end 
(X, Figure 96 B), as explained for raising and lowering 
the shade illustrated in Figure 90. 

If the roller is swelled toward the centre by wrap- 
ping with leather or by using graduated spools, as 
Figures 98 and 96 B, the shade will draw up in an 
arching shape, as indicated by dotted lines in Figure 
96 A, the larger spools in the centre consuming more 
cord each revolution than the smaller ones at the ends, 
and hence drawing the curtain up faster in the centre, 
producing the arched effect. 

If the cords are mounted on a plain roller without 
spring-winding attachment, as Figure 99, the manipu- 
lating cord is wound on it the reverse way, and is all 
wound on when the shade is down, so that pulling on 
it causes the roller to revolve, winding up the other 
cords, and, releasing it, allows the weight of the 
shade to unwind the roller and causes the shade to 
descend. 

In measuring for shades, some decorators meas- 
ure for the cloth only and have the rollers cut and 



mounted accordingly, either at the house or in the 
shop. We have found it best to measure for the roll- 
ers by selecting the most convenient place for the 
bracket and making the cloth to fit the rollers. Fig- 
ure 94 illustrates a modern window trim, showing by 
crosses the most convenient places for placing shade 
brackets, those enclosed in circles representing inside 
brackets and the plain crosses outside brackets. 

The illustration of a window's elevation, Figure 
78 in the chapter on sash curtains, also shows the 
positions of double shades on the face of the window 
frame — C, the roller of the light shade, and H the 
bottom of the shade, and D the roller of the dark 
shade, with F the bottom of the shade. 

Always measure for shades with a rule, as tape- 
lines are unreliable, and put down the measurement 
accurately in feet and inches, being careful to make a 
decided stroke or dot between the feet and inches, as 
2=2 — 6 x 9 — o means two shades two feet six inches 
wide by nine feet long, and the obliteration of the 
strokes between vastly alters the sizes. 

If there is anything peculiar about the windows 
that should be noted in their manufacture, jot it down 
also, leaving nothing to memory. In measuring the 
length, allow about one foot extra for a couple of laps 
around the roller when the shade is all pulled down. 
Austrian shades need no extra length, but should just 
clear the sill when down full length. 

Shades running horizontally, as across the bottom 
of a skylight, are treated exactly the same as explained 
for Figure 95, and if very large, stretch a number of 
wires lengthways beneath the shade to help sup- 
port it. 

Put up shade brackets with the slot or open 
bracket to the left side of the window and the hole or 
closed bracket to the right, leaving a little play between 
the brackets and the roller. Place the shade in the 
brackets and pull it down full length. If the spring 
is too weak to carry it up smartly, take it out of the 
brackets and roll it partly up, replace it in the brackets 
and try it again. If still too weak, take it out and roll 
up a little higher. 

If the spring is too strong or will not allow the 
shade to come down full length, take it out of the 
brackets when rolled up and unroll it a little. 

Do this until the roller will carry the shade 
smartly without too much tension, and if you find 
the roller is not strong enough it is always better to 
replace it with a heavier one before the customer 
makes a complaint. 









fits 




ARCHWAYS AND ALCOVES 



ARCHWAYS 



AND 



A L C O V £ S 




IVEN a straight open- 
ing, the average dec- 
orator will have no 
hesitancy in suggest- 
ing numerous stock 
schemes of treatment, 
from the simple and 
inexpensive to the 
most elaborate. But 
if the top of the 
opening is curved, 
his difficulties are in- 
creased. In the chap- 
ters on scarf and festoon draperies, we illustrated how 
draperies may be applied to the face of a round top 
opening when the object is to decorate or relieve the 
severity of the opening by partially concealing the out- 
line. We desire now to more particularly deal with 
a few cases which demand that the opening be not 
concealed, but harmoniously decorated within its pre- 
scribed limits. 

Figure ioo illustrates an opening between two 
rooms, presumably a drawing-room and dining-room, 
where a treatment is desired that will admit of the 
opening being either completely or partially closed at 
will. This is accomplished in this case by a pair of 
portieres that traverse freely on a pole placed at X, 
the spring of the arch ; or if this is considered too high 
the pole may be placed lower and the upper treatment 
brought down to meet it. It is not wise, however, to 
leave an opening less than six feet six inches in height 
beneath the pole. The upper part of this arch is filled 
with a frame made as illustrated in Figure ioo A and 
covered with the same material of which the curtains 
are made. This is fastened beneath the arch by 
mirror plates (see Figure ioo B), which are barely 
visible, and hold the frame securely in place. If the 
curve of the arch is an unbroken line and the portiere 
curtains are desired to completely divide the rooms, 
the bottom of the frame will look well straight, as 
illustrated, and the curtains are suspended directly 
beneath it, as Figure ioo C, showing side detail of 
frame and curtain. 

If the pattern of the fabric, the motif appliques, 
or the irregular curves of the opening suggest an 
irregular curved bottom line, as Figure 101, and per- 
fect division is desired, two frames are used, as Figure 
ioo D, with the curtains traversing between them, and 
the pole placed high enough to be invisible, or if one 
room is less particular than the other, the pole may be 
placed high enough on the back or least particular side 
so as not to show from the other room, and a single 
frame be used to fill the opening from the front room. 
For arches which have large projections, as Figure 



101, the frame is not usually made to fit into all the 
little irregularities of the plaster, but these little 
irregularities are usually included in graceful sweep- 
ing curves, which follow the general outlines of the 
projections, giving almost as good effect as if it were 
made to fit closely. Of course we do not mean that 
it is permissible to leave conspicuous openings between 
the plaster and the frame, but as it will be found ex- 
tremely difficult to fit all the little projections in plaster 
ornamentation, we suggest the advisability of including 
the lesser ornamentation in this way rather than nick- 
ing out the edges so that it is neither square nor 
curving. 

If, as frequently occurs, there is more light on one 
side of the arch than on the other, and little points of 
light sift through, showing up any irregularities from 
the dark side, a little chinking with a strip of the same 
material will overcome this difficulty ; but it must be 
neatly done, and unless the frame is a very bad misfit 
it should not require enough to be at all visible from 
either side. 

In measuring curved openings for any purpose 
there is no method so satisfactory as an accurate full- 
sized pattern, which may be marked, cut, and tried 
into the opening before leaving the house. Figure 
102 illustrates a splendid way of taking the shape of a 
plaster detail where an exact fit is required. The 
pattern paper is held behind the object, and with one 
point of a pair of dividers following the outline the 
other point will tick off the corresponding points on 
the paper by pressing it through the paper or marking 
with a lead pencil, and when cut and fitted the 
detail may be attached to the rest of the pattern in the 
proper position. 

The portiere curtains may be attached to a pole 
as above mentioned to secure complete division, but 
if the object is rather decoration, with partial division, 
the method (illustrated in Figure 101) of suspending 
the curtains from chains will be found pretty and 
effective, the chains equalizing the irregular curves 
and keeping the tops of the curtains straight. Portieres 
can be hung in a 
shallow arched 
opening b y us- 
ing the chains to 
equalize the 
sweep and allow- 
ing the curtains 
to hang straight 
on a line with the 
spring of the 
arch. The chain 
used should be 
of a fairly large 



47 




ARCHWAYS AND ALCOVES 



pattern, and of metal and finish to harmonize with 
its immediate surroundings. It is attached to the arch 
or frame by cup hooks, and being in one continuous 
length (as illustrated) is easily adjusted to the proper 
length before fastening permanently. 

Figure 103 illustrates around top opening treated 
with a pair of shaped curtains shirred on a rod so as 
to leave a small heading all around the curve, and is a 
very pretty way of treating a window or doorway 
where the top of the curtains may remain fastened 
and need not be disturbed for ingress or egress. The 
space left for the rod should be made small enough to 
fit quite snugly to the rod and prevent the weight of 
curtain from dragging the fullness down to the outside 
corners ; or if the material is very heavy a shirring 
tape is sewn in separate from the rod, and stitched to 
the goods to keep the fullness in shape, after which it is 
run on to the rod and placed in position. 

Figure 104 is another variation of the same prin- 
ciple, showing a double festooned curtain, which is 
very effective and largely used in arch draperies. The 
lace curtains shown in this illustration are hung on a 
separate rod, and so ar- 
ranged that one does not 
interfere with the other. 

To plan the top of a 
shirred round-top cur- 
tain, lay out the full size 
of your arch on a black- 
board (as Figure 105), 
dividing it in the centre 
by an upright line, as X 
— B. Locate the point 
where the curved top 
leaves the straight side 
line, and mark it (as A 
in illustration). The dis- 
tance from this to the 
centre line, B — X, is the 
width of half the space, 
and, therefore, the pro- 
portion of the space cov- 
ered by one curtain or 
width of goods, and the 
circling line from A to B 
represents the shape to 
which the curtain is to 
be shirred. 

It will be readily 
seen that the circle of the 
top must be increased in 
proportion to the amount 
of fullness desired in the 
shirred curtain. For ex- 
ample, say that the dis- 
tance from A to line B — 
X is twenty inches and 




the width of the curtain before shirring is fifty inches. 
Spread out the goods on your cutting-table, and, tak- 
ing the line F — C of Figure 105 to be the top of the 
goods, measure down on the E or left-hand selvage the 
distance from E, the top of the arch, to A, the spring 
of the arch, and mark point A ; now, with a cord 
fastened at A, and the goods spread smoothly out, face 
side up, strike a quarter circle, with C as a radius (line 
C— D, Figure 105) ; shift the cord to C, and with A as 
a radius strike another line to intersect the first one, 
thus locating point D, the point of intersection ; shift 
the cord again to ponit D, and with A as a radius 
strike another sweep toward the upper right-hand cor- 
ner until you cross point C. 

The line thus drawn from A to C will be the top 
line of the curtain that will shirr properly into the 
space A — B. Add sufficient for heading and hem, 
before cutting, and trim to shape. If the curtain is to 
hang as Figure 103, measure down the C selvage edge 
of the goods the distance from top of arch to the floor, 
and trim squarely across for the bottom of the curtain, 
the gathering and raking edge (Figure 103) being 

formed by the looping 
up, as illustrated in Fig- 
ures 34, B, C and D, chap- 
ter on Scarf Draperies. 

If the curtain is to 
hang as a double festoon 
curtain, as Figure 104, 
sketch the curtain on 
your blackboard with the 
arch as Figure 105, and 
after defining the top of 
the curtain onyourgoods 
as above explained, 
measure the distance 
from B to G on your 
blackboard, and mark 
the same distance on the 
edge of your goods from 
C downward. 

This locates point 
F. Measure the distance 
from A to H (the top of 
the seam) on your board 
and mark it on your 
goods exactly same size ; 
add trimming allowance 
as dotted line three in- 
ches extra at each end 
and one and one-half in- 
ches in centre, and the 
piece of material defined 
by points A, C, F and H 
will shirr and pleat cor- 
rectly into the space 
sketched on board, and 

[48] 




defined by A, B, G and H. Pleat this up on the board 
and trim the line H — G square. Measure the distance 
from H to floor and cut a length of material, allowing 
a little for trimming. Pleat this on the board also, 
allowing the bottom to clear the floor nicely by a half 
inch, and not spreading beyond the points H and I. 
Trim this corner dotted line H — I — G- to fit the line 
H — G, and join to the upper part, making as small 
a seam as possible, which is covered by a cord, in 
Figure 104. 

The back of the seam is bound by a piece of the 
material or lining, as the case demands. 

The Gothic arch illustrated in Figure 106 shows 
a case not often met with, but serves to illustrate a 
principle of soft valance cutting equally applicable to 
any shaped opening and any desired scallop. 

The opening in question had an arching exposure 
into one room and a square exposure into the other 
room. The square opening is simply treated with a 
pair of portieres, as Figure 106 A, the same showing 
behind the valance in Figure 106. To plan the val- 
■ ance itself it is necessary to have a full-size pattern 
of the arch, and on this as a plan (106 B) sketch 
out the drapery actual size. Be sure to allow more 
paper than is defined by the outline of the arch, as 
the details of the pattern will probably go beyond the 
the outline as in this case. Half of the sketch only 
need be used, but it should be fairly correct in out- 
line and proportion. When satisfactorily sketched 
(as Figure 106 B) detail the individual pipes and tails 
as follows : 

If the pipes have been properly sketched it will 
be readily seen that the side outlines converge toward 
the centre at the top, and diverge from the centre at 
the bottom. Continue these lines upward until they 
intersect as at U and V, Figure 106 B. This point 
will be nearer or more distant according to the flare 
of the pipe at the base. With one point of a pair of 
dividers at point U, and with the top of the pipe as a 



radius, strike a line across and on each side of the pipe, 
as line 1 — 2 ; repeat at the bottom of the pipe, cutting 
through the front sides and back of the mouth of the 
pipe, as dotted lines 13 and 14 ; place one point of 
dividers at Y and with Z as a radius add a half inch 
for fold, and strike to cross line 13 on each side; shift 
point of dividers to this intersection on line 13, and 
with I as a radius strike to intersect line 14, thus 
locating point 8 (Figure 106 B). Locate point 7 in 
the same way, and rule from 7 to Y and from 8 to Y, 
swinging the line a little to include the intersection on 
line 13 a half inch from point Z; rule also from all 
these points, 7 — 8 — Zand Zto U, locating points 1 and 
2 where the outside lines cross the sweep at the top of 
the pipe. Find all the points on the next pipe and mark 
and rule in the same way. Continue the outlines of 
the first fold of the tail until they meet at \V ; attach 
a cord there, and with chalk or pencil strike circling 
lines at the top of the tail and at M, N, O, P, O, R, S 
and T, the bottom of the tail. 

Place point of dividers at M, and with N as a 
radius add an inch and strike to cross line NI, locating 
NX on line NI ; measure from N to O and lay out 
this distance, with an inch added, by placing dividers 
at NX and crossing line 01, locating point OX ; locate 
PX, QX, RX, and so on, in the same way, and rule 
from NX to TX, striking each intersection on the 
way, and also from each intersection to W, as dotted 
lines. When all located the lines between 5 — 6 — 11 
and 12 will be the outline of the tail, those between 
3 — 4 — 9 and 10 one of the pipes, and 1 — 2 — 7 and S 
the other pipe. 

Now, lay the patterns over a soft board, and with 
a nail perforate the outline of the arch from A to T, 
the outline of the drapery from G to H, I to J and K 
to L, and also the outlining points of the pipes and 
tail, namely, 1 — 2 — 7 and 8, 3 — 4 — 9 and 10, 5—6 — 11 
and 12, and the points NX, OX, PX, OX, RX and 
SX. 

{Continued on page 51.) 



49 








i- <■ 


a t 






f- 


a 






B 










b .7 




• 
1 








e* / 
















1 






7-C 




! 

1 




r. i 


• m B 








ARCHWAYS 



AND 

{Continued from page 49.) 



ALCOVES 




OW take a piece of 
paper about twice the 
size of your pattern 
paper and lay your 
perforated pattern 
over it. A glance at. 
107 B, showing the de- 
tailed drapery pattern, 
will show you how 
best to lay your pat- 
tern to use the paper 
you have to advantage- 
Commence by marking A — B — G and H through 
your perforations as well as any perforations which 
may be included between these ; shift No. 1 on the 
pattern over point B, as marked through your perfora- 
tion, and point 7 over point H, and mark out the per- 
forations from 1 to 2 and 7 to 8 ; shift C over mark 2 
and I over mark 8, and mark from C to D and I to J ; 
shift 9 over mark J and 3 over D ; mark the perfora- 
tions included between 3 — 4— 9 and 10; shift E over 
mark 4 and K over 10, and mark E to F and K to L ; 
shift 5 over F and 1 1 over L, and mark all the points 
of the tail pattern. When all complete the under 
paper should appear as the outline of 107 B. Fold 
the pattern by following the lines of this illustration, 
the plain parts all face the front and the shaded parts 
all face the back of the drapery. As this is rather 
an intricate piece of work we have given each move in 
detail, and would suggest that 
you make a full-size plan of 
the pattern here illustrated 
to familiarize the details. 

Figure 108 illustrates a 
round-top window treatment 
made like the foregoing, or 
either of these effects may be 
obtained by making scalloped 
flat valances as explained in 
the chapter on that subject. 
The round-top flat val- 
ances may also be used in 
conjunction with a festoon 
drapery by providing aper- 
tures in the valance through 
which the drapery is passed, 
as left side of Figure 109. 

To plan aperture pelmets 
for any purpose we prefer to 
sketch out the full size of the 
pelmet on a blackboard and 
plan the points where the 
apertures will be. Then 
lightly sketch the outlines of 

[5*] 




the drapery on your board, as right side of Figure 109, 
and measure from your chalk lines direct as follows : 
Take a small plumb line and allow it to fall over the deep- 
est part of the festoon, as illustrated ; attach a tape at 
D, festoon A, and allow it to drop clown to X and around 
up to C ; note the measurement at X and record it, and 
also the distance from X to C, which, in the case 
of a regular or equal-sided festoon, is the same ; 
measure from B to A in the same way, recording 
the distance on each side of the line and also the 
distance from the top of the festoon to the bottom 
of it, in line with the plumb line. Measure festoon 
B in the same way, recording the distance on each 
side of the plumb line, and also the depth. 

These festoons are cut as explained in the chap- 
ters on French festoon drapery and irregular festoon 
drapery, but we give the diagrams here as an addi- 
tional guide. (Note Figure 109 A and 109 B.) 

The drapery illustrated in Figure no illustrates 
an irregular festoon drapery, made to exactly fit the 
arch or opening. To plan this drapery use the black- 
board and full-size sketch as for last figure. After 
the outline is sketched in and corrected to your 
satisfaction, flatten the tops of the festoon by ruling 
lines from each end of the bottom outline, as B to C 
dotted line, or from the outside extremity of one 
bottom outline to the outside extremity of the next 
festoon, as A to B and C to D dotted lines. 

Drop a plumb line over the deepest part of each 
festoon and measure the out- 
lines as explained for Figure 
109, recording the measure- 
ments on the board ; measure 



the distances of the straight 



dotted lines, tops of festoons 

on each side of the cord, and 

also on each side of the centre 

of the dotted line, recording 

the distances each way, and 

also the distances from the 

centre of the dotted lines to 

the outline of the arch. 

When all measured, take 
a large sheet of pattern paper 
and proceed to mark out 
your pattern. Spread your 
paper on the table, the long- 
est edge of the paper even 
with the side of the table 
next to you, and on this edge 
mark the measurement of 
the bottom line of festoon F, 
as recorded on your board. 
(See Figure 1 10 A.) In this 







T-J /H 



ARCHWAYS AND ALCOVES 



festoon the plumb line crossed its centre and both 
sides measured equal, so, measuring each way from 
the centre of your line, mark the ends B and 
C, distant i — 4 from X, the centre of your line; erect 
a perpendicular line twice the length of the depth of 
the festoon, from dotted line to bottom line, and in line 
with the plum line (twice 1 — lj4—2 — 3). At the top 
of this line, or 2 — 3 from its base, draw another hori- 
zontal line parallel with the bottom line, and on it, 
each side of the perpendicular line, mark the distances 
recorded on your board each side of the plumb line ; 
now, with one end of a pair of dividers or cord at 
X (no A), and with B — C as radii, strike a quarter 
circle upward from these two points ; with one end of 
the dividers at C and one-third of the distance from 
C to X as a radius strike an arc to intersect the first 
circle, locating C 1. Repeat this arc at B and rule 
from B 1 to X, C 1 to X, B 1 to B X and C 1 to C X. 
Add trimming allowance at the sides, as dotted lines, 
three inches extra at extremities and one and one-half 
inches in centre, and round out the bottom from C 1 
to B 1, as dotted line. This gives you the shape of 
the pleated part of festoon F, and to this you must 
add the plain piece above the dotted line. 

From the centre of the top line of the festoon 
erect a perpendicular line to correspond in length with 
the upright three-inch dotted line at the top of 
festoon F (Figure no) ; place one end of dividers at 
this point D (Figure no A), and with a little more 
than half the distance to C X as a radius strike an arc 
equal to a quarter circle. Shift the dividers to C X 
with the same radius and strike an arc that will inter- 
sect the first one at both extremities ; repeat these 
with the same radius from D toward B X and from B 
X (as illustrated), and rule lines that will pass through 
both intersections of both arcs until they themselves 
intersect at E ; now, with one point at E and B X as a 
radius you can sweep the same circle from B X to 
C X as is outlined on your board of Figure no. 
Festoon E and G of Figure no, and B of Figure 109, 
are measured and laid out in the same manner ; the 
measurements on each side of the perpendicular line 
corresponding with those recorded each side of the 
plumb line, the points locating the end of bottom lines 
raised one-third the distance from the end in question 
to the perpendicular line, and the depth of the fes- 
toon doubled on the perpendicular line to allow for 
pleating. 

The draperies illustrated in Figures 109 and no 
are attached by rings to bent poles inside the arch, to 
a light frame similar to Figure 100 A, or may be 
tacked to the arch itself. 

A plan employed largely by French decorators is 
illustrated by Figure 11 1, combining the principles 



of the drapery and long curtain. The arch here illus- 
trated and detailed in Figure in A represents an 
arch 5—0 wide by 8—0 high. Add to these dimen- 
sions half as much again to the width (2 — 6) and a 
like quantity (2 — 6) to the length ; join the fabric up 
to these increased dimensions (in B), 7 — 6x 10 — 6, 
and lay it out flat on the table ; from the centre of the 
top edge draw a line at right angles to the top and as 
long as the quantity added to the length (2 — 6), and 
on each side of this line mark on the top edge points 
equal to half the quantity added (1 — 3), thus locating 
points C — D and E ; rule from C to E and E to D ; 
add the trimming allowance, as dotted lines, and cut 
this piece out. 

Shirr these curved lines from C to D tightly (as 
illustrated in C) and tack it in place at C — D (m 
A) ; raise each outside edge until it just clears the 
floor and tack it at E, the spring of the arch ; edges 
C to A and D to B are tacked around the curve from 
the centre as far as they will reach, and the surplus 
between B and E is distributed into pleats and the 
same repeated on the other side. 

It is sometimes necessary to square the bottom 
edge if the goods are very heavy, but the bottom can 
usually be kept square with the pleating. To 
straighten the bottom tack the curtain in place tempo- 
rarily and allowing it to hang naturally, insert pins 
all along the goods as it hangs at the floor line ; trim 
off the surplus thus marked, and finish the bottom 
with a hem, cord or fringe, and trim the top with a 
gimp or large cord. This method is only suitable 
where the fabric will not be disturbed, but is very 
effective as a background. 

Figure 112, a combination of an embroidered flat 
valance and pair of double festooned curtains, is very 
effective for large spaces. The valance, made on a 
light frame or on buckram and tacked to the arch, the 
tacks covered with a gimp in harmony with the em- 
broidery, and the curtains attached as explained for 
Figure 104. 

The method of employing a blackboard and full- 
sized drawings mentioned in the foregoing, with the 
explanation of festoon F (Figures no and 110A) gives 
the fundamental principle of the blackboard system 
of drapery cutting, and the principles therein sug- 
gested may be applied to any explanation of drapery 
cutting which we have given by changing the scale 
drawings to full-sized drawings and measuring the 
sketch with a tape. It is not at all necessary 
that the outline of the festoons be made up of 
accurate and true lines. If the general size and 
shape is fairly correct you will find that the tape 
will hang true enough to correct any deficiency in 
sketching. 



PORTIERES 



AND 



APPLIQUES 




S EARLY as the year 
1012 B.C., straight 
hanging portieres for 
connecting doorways 
were employed in 
the temple built by 
King Solomon. In 
a modern house, por. 
tieres are almost as 
important as doors. 
Aside from the ready, 
made portieres, which 
are manufactured in a variety of patterns and mate- 
rials, the demand for portiere curtains specially adapted 
to various rooms has resulted in a profusion of made- 
to-order styles, a few of which we illustrate. 

Among the fabrics most used are tapestries, bro- 
catelles, damasks, velvet, plush, plain and figured 
velours, armures, fancy reps and serges, and for 
Summer furnishings, the lighter-weight fabrics, such 
as taffetas, art tickings, cretonnes, denim and sateen, 
in almost endless variety of shade and pattern. 

In many cases the carpets and wall coverings are 
chosen and in place before the portieres are considered. 
This is unfortunate for the drapery man, as it not 
infrequently happens that the unadvised or overad- 
vised purchaser has chosen colorings that bear no 
relation to one another, so that 
to select a material for portieres 
that will harmonize with the 
carpet at its base and also with 
the side-wall which it divides is 
a difficult proposition. Fre- 
quently the best that can be 
done is to employ an unassum- 
ing neutral color that will not 
offer a very decided contrast to 
either floor or side-wall, and 
then introduce the colors of 
these other furnishings in a 
modified form in the trim- 
mings. 

Where walls and floor are 
in harmony, or where the fur- 
nishings are chosen together, it 
is a safe plan to build from the 
ground up, allowing the portieres 
to be slightly lighter in tone 
than the carpet, and the over- 
draperies and side-wall in 
lighter tones still. This ap- 
plies equally whether the 
scheme be one of contrast, or 
analogy. 

[53l 




Considerable care must also be exercised as to the 
general effect of plain or patterned fabrics in relation 
to floor and side-wall. As a general rule avoid up- 
right stripes for long, narrow doors, since the stripes 
accentuate the slimness of the portieres. Likewise 
avoid cross stripes on short openings, as they decrease 
the height and increase the width. Plain self-colored 
materials look larger than figured materials unless the 
expanse of color is reduced by applique trimmings. 
Study the effect you wish to produce and plan ac- 
cordingly. 

Some of the fabrics mentioned above are revers- 
ible, having a finished surface on each side. These, as 
a rule, do not require lining unless too light in weight 
or out of harmony with the colors of the adjoining 
room. Other goods should be lined and — unless the 
goods are heavy enough without it — interlined as 
well. 

Figure 113, on the next page, illustrates the most 
common type of portieres made of a figured material 
and trimmed with a cord on one side and bottom of 
each curtain. 

Assuming that these are made of a reversible or 
double-faced material, the goods are first spread on the 
table and the measurement of the portiere marked 
out. If the curtain length as marked spoils the 
pattern at both top and bottom it is better to shift 
it up so that the bottom pattern 
may be perfect (or both bottom 
and top if possible), add about 
three inches to the net length 
of the curtain measurement and 
cut it ; match the next length 
to this one before making the 
second cut. If it creates too 
great a waste and there should be 
more than one pair required of 
the same material (the pairs not 
required to match each other) 
cut a length for one of the other 
pairs and try the first pair 
again. If this is no better and 
there are no other sizes to cut, 
try the other end of the goods. 
Never cut to waste without try- 
ing every plan you know for 
avoiding it, as a little planning 
will often pay for itself in the 
amount of material saved. 

Assuming still that this is re- 
versible material and the matched 
lengths are ready for making, 
spread each length on the 
table and cut off the selvage or 




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3n£fjat f 1-1 


T 


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1^1*0 | 






PORTIERES AND APPLIQUES 



PORTIERES AND APPLIQUES 



part of it, according to the width of it, and turn or fold 
the edge over as Figure 113 A to make a felled edge 
about three-eighths of an inch wide, which is slip- 
stitched as illustrated. Be careful that the stitches 
are taken between the threads of the goods and do 
not show on the reverse side. 

Fell the curtains on both sides and bottom, taking 
care not to stretch the edge of the material in doing so, 
and leave the top as cut. When all felled around, lay 
the fabric on the table with the bottom of the curtain 
even with the end of it and the sides parallel with the 
table top, mark the length of the finished curtain on 
the table as A Figure 113 B and fold the top of the 
curtain over as illustrated, making a fold about two 
inches deep, which is stitched at X the bottom edge of 
the fold and at O one-half inch above it. 

The cord is sewn on as illustrated by Figure 
113 C, holding both cord and curtain loosely, so as not 
to stretch either, and pulling the stitches barely taut. 

A great deal of the difficulty in the hang of por- 
tieres is caused by the way in which the cord has been 
put on, and too much care cannot be taken until one 
is expert enough to produce perfect results. 

The right side of the curtain is considered to be 
that side from which the hems were turned, and the 
cord is sewn from the right side, the ends being secure- 
ly fastened and sufficient fullness allowed at the 
corners to turn them squarely. 

In portieres, as in draperies, cut the goods to be 
made with the pattern running up, and the nap of pile 
goods running down. When not shirred to the width 
of the space the portieres are pleated to the width, the 
pins being inserted between the two stitchings X and 
O, Figure 113 B, and the pleats turning to the back 
edge of the curtain, as Figure 113. 

Figure 114 is an illustration of how a pair of por- 
tieres can be applied to a nar- 
row door to give it the effect 
of greater width. Hung in 
this way and for this purpose 
all woodwork must be hidden 
and the pole projected for- 
ward far enough for the cur- 
tains to clear the face of the 
door frame. 

An applique lace is illus- 
trated as a trimming on the 
left-hand curtain (Figure 114), 
and the curtains are fined on 
the reverse side with a fabric 
to harmonize with the sur- 
roundings in the next 
room. 

To apply the trimming, 
the curtain is first tacked out 
flat on the table face upward, 
true and even with the square 




table edge, and a guide line ruled where the lace is 
desired to be. 

Open-work applique trimmings are usually started 
from the corner, and the trimming so planned that 
where the mitre is made a perfect pattern is made and 
the surplus cut away. When all laid on in place the 
trimming may be either basted, pinned or cemented, 
after which it is taken up and sewn permanently. For 
pile goods a splendid method of holding the trimming 
in place is to spread some paste on a piece of paper 
and then press the wrong side of the trimming on to 
the paper until it absorbs a quantity of the paste, then 
lay it on the fabric in position and weight it until dry, 
after which it can be stitched. 

After the trimming is stitched in place, lay the 
curtain on the table face downward and turn a half 
inch (or more if desired) over on sides and bottom, as 
illustrated in Figure 114 A and 114 B, and tack it 
temporarily, taking care not to stretch the material, 
but keeping it smooth and straight with the table ; 
turn the surplus down at the top to make it the length 
of the finished curtain, less whatever allowance is 
necessary for cord or fringe, which projects beyond 
the bottom edge, and so must be included in the 
length of the curtain. 

Lay the lining over it, as Figure 114 B, turning 
under sufficient at sides and bottom to make it equal 
to the width of the tapestry or chief fabric of the 
curtain. Tack only half of this, as illustrated, and 
then fold the free half back over the tacked half and 
knot — stitch the lining and fabric together, as shown 
in 114 C. Pass the needle between the threads of 
each material in such a manner that the stitch will not 
show through on the right side of the curtain, and knot 
it to one fabric only. 

When all knot-stitched, using one, two or more 

rows, according to the weight, 

texture and value of the 

fabric, finish tacking the 

lining, turning under the 

edges as before and baste 

the fabrics together all 

around, using a stitch similar 

to that illustrated in Figure 

1 14 A, which holds the folded 

edge well in place. 

Stitch the top across 
twice, as X — O, Figure 114 
E, and then pin the cur- 
tains temporarily to a try-pole 
to see if either side sags 
down and looks baggy. If 
it does so the bottom bast- 
ing must be taken out and 
the excessive fullness allowed 
to hang free until both 



[55] 



PORTIERES AND APPLIQUES 



fabrics hang square and flat together ; then pin the 
two fabrics about four inches from the bottom, so that 
neither can shift, lay it on the table, and, turning in 
the bottom evenly as at first, baste it once more and 
test it on the pole. 

If flat and even this time without sagging, it may 
be removed and slip-stitched all around, holding the 
edges as basted and using the stitch illustrated in 
Figure 114 D. 

The curtain is then corded as explained in con- 
nection with illustration Figure 113 C, and if the 
lining is a different color and sufficiently important to 
require it, the cord should either be a mixture of the 
two colors or two separate cords should be put on, 
each sewn from and matching the color of its own side. 

If the tops are to be pleated and pinned, as Figure 
113, the pins are inserted between the stitches X and 
O, Figure 114 E; but if they are to be shirred, as 
Figure 1 14 A, a tape is run between the stitches X and 
O, and hooks placed in between the tops, as A, 
Figure 114 E, and sewn to the tape, after which the 
spaces between the hooks are stitched at intervals to 
keep the two fabrics up in position. 

Where price limitations do not exist a more satis- 
factory portiere can be made by using an interlining of 
sateen, canton, or shaker flannel the bottom of which 
contains small vertical pockets, as Figure 114 F, 
which are filled with shot and sewn up. These are 
made by turning up the bottom of the lining about 
three inches and running it through the machine, as in- 
dicated by the arrow. It will be noticed that the pockets 
are heavier or a little closer together at the corners to 
increase the weight there and cor- 
rect the tendency to flare common to 
a pleated or shirred curtain. This 
weighted interlining is placed in 
position before putting on the lining 
in Figure 114 B, and is included 
in the knot stitching and basting ; 
the edge of it, however, is trimmed 
even and lies between the turned- 
in edges of the two fabrics without 
itself being turned in. When 
weighted interlinings are used with 
extra-heavy corners the fabrics 
should be knot-stitched together, 
say four inches from each outside 
edge and down the middle for ordi- 
nary fifty-inch material (three rows 
in all). There is a tendency on the 
part of a great many fabrics to sag or 
stretch down with their own weight 
after hanging for some time. The 
best way we have found to correct 
this is to stretch the material be- 
tween clamps, as Figure 115, allow- 
ing the tension to remain on the 




material for about twelve hours, after which it is made 
up in the usual way. 

Figure 116 illustrates a pair of portieres with a 
leather or embroidery applique corner which is ap- 
plied as already explained for lace applique, making a 
very rich and effective portiere. When made to order 
it is possible to have the embroidering done on the 
fabric itself, making thereby a better finished and 
more durable article. 

The French heading illustrated in Figure 117 is 
made as explained by drawings 117 A and 117 B, 
showing the front and back views of the double box 
pleat which is opened out into the heading after hav- 
ing been sewn to the hook. This heading requires a 
special hook having upright arms which support the 
top of the heading and are something after the style 
of Figure 117 C. 

Figure 118 is an illustration of a tapestry panel 
made up as a portiere by bordering it with a plain 
material, such as velours or plush ; they are made with 
very little fulness in width, and are effective for den, 
library or smoking-room curtains. 

A great variety of gimps, cords, edgings, galoons 
and appliques are procurable for trimmings, each ap- 
plicable to specific requirements, while a combination of 
two fabrics in the way of bands or borders, as Figure 
118, and the right-hand curtain of Figure 114, is 
also most effective, and allows an assembling of 
colors and shadings not easily produced in any 
other way. 

Figures 119 and 120 illustrate two kinds of por- 
tiere poles for use on a doorway where it is necessary 
to have the portiere swing open as 
a door, or with a door which it 
covers. The principle of each can 
be readily seen without explana- 
tion, and they serve a useful pur- 
pose where such fixture is desired. 
Figure 119 is self-supporting, 
and is independent of the door un- 
less provided with bracket X. Fig- 
ure 120 is dependent on the door for 
support at one end, and is hinged 
just in line with the hinge of the 
door. The small bracket at the left 
of the hinge is equipped with a set 
screw, which holds the pole rigid, 
while the right-hand bracket is pro- 
vided with a large opening through 
which the pole slides with the open- 
ing of door. Portieres are usually 
made to just clear the floor, and 
should be suspended from rings 
which traverse freely on the poles. 
Appliques look best on plain materi- 
als. Materials with prominent pat- 
terns are better without them. 

[56] 



D 



D 




ED draperies should be 
planned and con- 
structed to carry out 
the style and design 
of the bed itself, and 
should never appear 
obtrusive. Care 
should be particularly 
exercised in sleeping 
apartments that the 
draperies, furniture, 
floor and wall cover- 
ings merge into one complete harmonious whole with- 
out a discordant note. 

The conformation of the draperies has much to 
do in determining the artistic atmosphere of a room, 
and may suggest vivacity, dignity, restfulness, solem- 
nity or depression, according to the design and the 
style of material. The application of style and design 
to particular purposes is not governed by rules as fixed 
as the harmony of color, and doubtless every decorator 
of experience has seen scores of treatments which 
have impressed him as being in bad taste and unre- 
lated to their surroundings, yet these treatments must 
have pleased somebody. 

The salesman who told a lady customer that good 
taste was what she liked best was not far astray in his 
definition, and it would be folly for any of us to say 
what is and is not absolutely good taste. We would, 
however, suggest that the purpose for which a room 
is used should govern to a very large extent the nature 
and character of the furnishings, and that the more 
exclusive the purpose so it should be with the fur- 
nishings. 

This was hardly „ p 

the thought prevalent 
in ancient times, judg- 
ing from the examples 
extant, but is more in 
touch with latter-day 
thought and tendency. 
Students of pe- 
riod draperies soon 
reach the conclusion 
that there is very little 
really new, and we 
think this is particu- 
larly true of bed 
draperies. In bed 
draperies the French 
decorators of the Six- 
teenth and Seven- 
teenth Centuries are 
still pre-eminent, and 
we reproduce for pur- 

[57] 




poses of explanation a few of the best examples of 
these periods. 

Figure 113 is a type of the elaborately upholstered 
bed of the Pompadour period and contains much that 
is graceful and applicable to present-day decoration, 
the entire canopy arrangement being worthy of repro- 
duction in toto. 

While it is not customary at present to upholster 
beds (head-board, foot and side-rails), except for pur- 
poses of exact reproduction, it would not be amiss to 
explain in passing the steps taken in producing the 
different styles of tufting shown in our illustrations. 

The biscuit tufting of Figure 113 is usually made 
small and shallow as compared with other styles, the 
squares composing the tuft seldom running larger 
than two inches. To mark off the surface of the article 
for tufting find the centre each way and draw lines as 
dotted lines 1- 1, 2 2, Figure 113 A, being care- 
ful to make them perfectly perpendicular and hori- 
zontal, as governed by the outline of the space to be 
tufted. Measuring from the centre lines draw other 
lines every three inches until you reach to within 
three inches of the outline of the space, thus dividing 
the surface into three-inch squares, as dotted lines, 
Figure 113 A. Rule diagonal lines, as A, B, C, to 
cut through the intersections of the dotted lines, and 
make these diagonal lines sufficiently heavy to be 
legible when tufting, as the smaller squares enclosed 
by the diagonal lines outline the size of the tufts and 
the intersection of the diagonals mark the points for 
the buttons. (See Figure 113 B.) When all the lines 
have been drawn the article is ready for tufting, but 
the cover must also be marked for buttoning before it 

can be applied with 
any degree of success. 
To ascertain the 
size of the covering 
needed, count the 
number o f squares 
diagonally from one 
extremity to the other, 
thus from C to C, 
Figure 113 A, num- 
bers ten squares, and 
ten also from A to A ; 
now take the size of 
the dotted line squares 
first marked on 
Figure 113 A (three 
inches), and multiply 
the number of diag- 
onal squares by the 
size of the dotted 
squares, which gives 
us the size of the 



rfSKSE 





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— ■ 




BED DRAPERIES 



covering as 30 x 30 inches ; add an inch all around for 
tacking, and a piece of covering 32x32 will be the 
size required. 

For spaces such as 113 A, where the surface is 
longer than wide, it is possible to economize in cover- 
ing by joining two pieces together on the centre line 

of tufting, B B ; take width from the lower right 

hand C to the upper B, nine squares, and the number 

from B B to A, upper right hand corner, five 

squares, and multiply each by three inches, as before, 
and we find that two pieces, 27 x 15 inches, with tack 
allowance added, will be sufficient to cover the spaces 
thus divided by line B- B. 

The covering is turned face downward upon the 
table and divided into the requisite number of three- 
inch squares, leaving the tacking allowance beyond 
the outside lines and keeping the lines parallel with 
the edges of the material, similar to Figure 114 B. 

Attach the centre mark of the lowest line on your 
material to X, the lowest button mark on your tufting 
surface on line A, Figure 1 13 A, and temporarily tack 

the next marks on the bottom line at X X, Figure 

113 B. Stuff the fullness thus allowed between your 

button and X -X, and then put in button B, as 

Figure 113 B; the space between A B and X 

forms a triangular pocket of fabric, which is stuffed 
up plumply and button pulled into place by following 
the marks on cover and tufting surface ; the rest of 
the tufting now is a repetition of this procedure, stuff- 
ing up the three-cornered pocket, pulling in the fourth 
button to complete the square, and forming the sur- 
plus from button to button into a straight pleat. 
When all filled the edges are stuffed up plumply and 
tacked all around, the surplus fullness around the 
edge being formed into pleats running outward from 
the outside row of buttons, as Figure 113 B. 

This is by no means an easy task for a novice, 
but patience and perseverance will accomplish the 
result, and the method of square marking for the 
covering and diagonals intersecting similar sized 
squares on the article will give the proper allowance 
for fullness for all sizes and nearly all coverings. 

Square or bun tufting, as shown in Figure 114, is 
marked as Figure 114 A, dividing the space into 
three-inch squares (or larger, if desired) and the cover- 
ing marked also into squares (as Figure 114 B) from 
one to one a-half inches larger than those on the sur- 
face of the article. Thus, for three-inch squares, rule 
your cover into four and one-half inch squares and 
add tacking allowance. The size of the covering can 
easily be ascertained, as you need the same number 
of four and one-half inch squares of covering as there 
are three-inch squares marked out for tufting. 

Put in the entire bottom row of buttons and the 
first one of the next row (Figure 114 A), forming the 
triangular pockets, which are stuffed as explained 
above for biscuit tufting. 



The diamond tufting of Figure 115 is made in a 
slightly different way, but the principle is the same. 

Rule the cross lines 1 2 3 4 as Figure 1 1 5 A, 

line 3, say three inches from the bottom, line 2, six 
inches above line 3, and line 1 three inches higher 
again. 

Divide lines 1, 2, 3 and 4 into three-inch spaces, 

as shown on line 1, A B -C, etc. ; rule from B 

on line 2 to A on line 3, and also to C on line 3 ; rule 
from C on line 2 to B and D on line 3, and also from 
A on line 2 to B on line 3, continuing this until the 
surface is all marked, as Figure 1 15 A. This will give 
you a row of intersecting diagonal lines between lines 
2 and 3 and marks the diamonds for buttons by fol- 
lowing the intersections. 

To measure the space for covering, measure from 
A to B, to C to D, and so on to G, adding one and a- 
half inches to the distance between each letter for 
fullness. Measure from 4 to 3 to 2 to 1 in the same 
way, adding one and a-half inches to each space, so 
that a panel the size of 115 A, which measures 12x18 
inches, requires a piece of covering 18x27 inches, 
with an allowance of another inch all around for tack- 
ing (20 x 29). Mark the covering, as Figure 1 1 5 B, 
which shows the one and a-half inches added to 
the spaces between the upright lines and also to the 
spaces between the cross lines. 

Put in the first row of buttons and draw the bot- 
tom edge of the goods, which lies directly in line with 
each button, straight down, and tack it temporarily 
there. This will form a series of pipes all across the 
bottom ; stuff evenly and plumply, and commencing 
in the centre stuff up all the space between the first 
row of buttons and the second line ; pull the cover 
down over this by pulling the button mark on the 
cover down to the button mark on the line, and put 
in the button, forming the surplus material diagonally 
from button to button into a pleat, as illustrated 
(Figure 115 A). Continue this row and the rest in 
like manner, folding the pleats downward and facing 
each other in pairs, as indicated by arrows. Finish 
the top with a row of pipes similar to the bottom, 
stuff up all the edges and tack them, drawing all the 
surplus fullness into pleats from each button of the 
outside rows, and rounding the edges down to the 
place where finished off by tacking. 

Beneath the rail of Figure 113a short piped val- 
ance fills the space to the floor. It is slightly pleated 
between the pipes, so that the pleats fall into festoon 
shape, and is also an effective valance for cosey cor- 
ners and chairs. Mark out on a paper, Figure 116, 
the exact appearance of a portion of the valance, in- 
cluding two pipes and the space between ; erect per- 
pendicular lines A and B through the centre of each 
pipe, measure the width of the pipes at bottom and 
top, the length from top to bottom, the distance be- 
tween D C at the top and the distance around the 



59 



BED DRAPERIES 



curved bottom line between A B at the bottom, 

recording the measurements as here shown. 

Take a large piece of paper, and using the longest 

edge of it as the bottom line A B, Figure 116 A, 

mark off the distance of the bottom edge of the fes- 
toon (i 9) ; from the centre of this space erect a 

perpendicular line E E at right angles to the bot- 
tom line, and as long as twice the length of the pipe 

(2 o) ; at the top of the perpendicular line rule 

another horizontal line parallel with the bottom line 
or the edge of your paper, and with the perpendicular 
line as your centre, locate points C and D, exactly as 
on your drawing 116. 

With E as your centre and A B as radii (1 16 A), 

strike a half circle to connect A and B ; with B as a 
centre and one-quarter the distance to E as a radius, 
strike an arc to intersect the half circle and locate 

point A 1, and repeat at B to locate B 1 ; rule 

from B 1 and 

A 1 to E, from 

A 1 to C and 

from B 1 to D, 

defining the gen- 
eral outline of the 
festoon-like section 
between the pipes. 
Reverting again 
to Figure 116 the 
bottom of the pipe 
measures four and 
one-half inches 
across the face 
when pressed flat ; 
double this to get 
the circumference,- 
which would be 
nine inches ; rule a 
horizontal line from 

point A 1 (116 

A) parallel with the 
bottom line and 
nine inches in 
length ; erect a per- 
pendicular line, X 

X, from the 

centre of it, and on 
the perpendicular 
mark the length of 
the pipe as shown 
on your drawing 

(1 0) ; at the 

top of this line lay 
out the size'of the 
top circumference 
of the pipe, which 
is double the face 
measurement, and 

[61] 



<rK3C 




locate points G and G four and one-half inches apart ; 

rule from G to A 1, round out the bottom line from 

A 1 to B 1 as dotted line, add the trimming 

allowance between C and G, dropping about two inches 
to F, midway between lines C and G as dotted line ; 

fold the paper on line X- -X and cut out the festoon 

and half the pipe, as outlined by X Ai E 

Bi D C F G and X, together with the 

paper folded underneath, which will give you when 
opened the pattern of two festoons and one pipe, as 
Figure 1 16 A, which may be repeated indefinitely by 
joining the pieces at F so that the seams are hidden 
behind the pipe. 

To pleat the festoons shirr from C to F and D to 

F tightly on a stout thread, fasten F- F together, 

drawing the pipe together at the back, and fold the 
top of the pipe down behind to finish even with the top 
of the festoons. Tack the whole to a slat or to the 

bottom of the bed 
itself and straight- 
en out the pipes 
and pleats to hang 
nicely and uni- 
formly. 

By increasing 
the depth of the 

festoon to (2 8) 

twice the depth of 
the festoon drawn 
in Figure 116 (1 

4) and adding 

rosettes, made as 
explained in chap- 
t e r on pleated 
valances and lam- 
brequins, a more 
elaborate effect is 
obtained, as Figure 
116 B, suitable for 
other purposes 
where a simple val- 
ance is required. 
The canopy is 
made on a frame 
shaped like Figure 
117, suspended by 
brass chains or wire 
from the ceiling or 
wall, and supports 
the curtains at 
sides and back, in 
addition to the dra- 
pery which com- 
pletes the canopy. 
The side curtains 
are made about a 
foot longer than 



BED DRAPERIES 



the distance from floor to canopy, and caught up with 
rosettes or loops, as explained in chapter on scarf 
draperies. 

The festoon-like pleats in the top of the curtain 
are obtained by cutting out sections of the top of the 

curtain, similar to the piece defined by points E 1, 

E 1, and F, in Figure 118, the total amounts cut 

out consuming the fullness allowance, as, for instance, 
a piece of forty-eight inch material pleated to twenty- 
four inches would have two triangles of eight inches 
removed, as Figure 119, and a half triangle of the 
same size taken off each corner ; by shirring the rak- 
ing edges the pleats are obtained and the fullness 
consumed. 

The drapery of Figure 113 is made up of triple- 
pleated festoons, made as follows : Sketch out the 
festoon as you desire to pleat it, either full size on 
your blackboard or to a reduced scale on paper, the 
large lower pleats occupying two-thirds of the depth, 
and the small upper pleats the remaining one-third, as 
Figure 120 ; measure the distance around the bottom 
of the festoon from A to B, the depth from E to X, 
and also from C to E and D to E, recording the dis- 
tance on your drawing. 

The bottom line and the depth of the festoon pat- 
tern, Figure 118, are planned as a regular festoon, so 

draw the bottom line, A to B, locate the points Ai 

Bi one-sixth of and above the bottom line, as explained 
for straight festoons ; rule the perpendicular centre 





line E X as long as twice the depth recorded on 

Figure 120, and rule the top line parallel to and almost 
as long as the bottom line. 

Now take one-quarter of the measurement be- 
tween C D, Figure 120, and mark it on your top 

line, so that half of it lies on each side of your centre 

line E, thus the distance between C D is eighteen 

inches, one-quarter of it is four and one-half inches, 
and two and one-quarter inches on each side of the 
centre line locates Ei and Ei four and one-half inches 
apart. 

Now take the distances recorded between C and 
E and E and D on your sketch, and mark these dis- 
tances outward on the top line from Ei and Ei, which 
will give you the size of the top of the festoon and 
locate points C and D on your pattern. Mark F about 
one-quarter of the distance from E to X on your pat- 
tern (Figure 118); rule from F to Ei on each side, 
A 1 to C and Bi to D, add pleating allowance, as dotted 
lines on raking sides of festoon, hollow out the U- 
shaped marked at E, as dotted line, round out the 
bottom of festoon, and cut out the pattern, shirr the 

edges from E 1 around to E 1 on a stout 

thread, and pleat the raking outside edges up as an 

[62] 



BED DRAPERIES 



ordinary straight festoon. (See explanation in chap- 
ter on French festoons.) 

The ruffle which surmounts the drapery and 
forms a trimming at the edge of the canopy (Figure 
113) consists of a piece of material pleated in such a 
manner that the pleats are smaller at the bottom than 
at the top. It is made separately, and either joined 
to the drapery or put on over it. The size and number 
of the little cone-like pleats are matters of personal 
taste, and the principle of making is the same for all 
sizes and shapes. 

On a fair-sized piece of paper draw out exactly 
two pipes and the space between as you desire it to 
look when finished (see Figure 121). Continue the 
side outlines of the pipes downward until they meet, 

as A A. This, of course, will be nearer or more 

distant according to the flare of the top of the pipe. 
Place point of dividers at A, and using the length of 
the pipe as a radius, strike a quarter circle through 

and on each side of the top of the pipe, as line B B ; 

now draw perpendicular lines passing up through the 
centre of each pipe and at right angles to the straight 
bottom line of the ruffle. 

Place one point of dividers at C, where upright 

line intercepts the circling line, B B, and with a 

little more than D D as radii, sweep to cross the 

line B B on each side ; place dividers at the point 

where your sweep crossed B B, with the same 

radius, and strike another line to cross B B and 

locate E, and rule from E and D to A on each side of 
the pipe ; with dividers at A, and with the bottom of 
the pipe as a radius strike another quarter circle as 

H H, the points where dotted lines D and D cross 

H H locate G G, and where dotted lines E and 

E cross H H, F- F are located ; mark the place 

where the perpendicular line crosses H H as X, 

which is shown on the middle pipe, and the pattern is 
ready for punching. 

Note instructions for punching pattern of Figure 
1 07 A in chapter on archways, and follow the same 

procedure with this pattern, punching points E D 

— C D E at the top, and F G X 



G F at the bottom. 

E D D E — 



You will notice that letters 
-F, G G and F outline the 



pipe and show the lines for folding, while the space 

enclosed between C C X X is the pattern 

of the plain piece between the pipes ; now by shifting 
the pattern as explained for Figure 107 B, in above 
mentioned chapter, and marking through the perfora- 
tions you will have a pattern outlined by the same 
letters as Figure 122 ; rule from point to point and you 
have the complete pattern of one pipe and the space 
between it and the next one, by repeating this, as 
shown in Figure 122 A, you may make the ruffle any 
required length, stiffen with wiggin holland or buck- 
ram and pleat as indicated by lines in pipes, the 
shaded portions of Figure 122 A going to the back of 

[63] 



the pipe, and the points C E C E and X F X F 

meeting and fastened together. The completed ruffle 
is now sewn to the top of the festoons and the seam 
finished with a cord, as Figure 113. 

Figure 114 illustrates the application of straight 
top festoons to a molded canopy frame, the roof of 
which is shirred to a centre in sunburst effect. 

Figure 1 1 5 shows a ruffle or piped heading similar 
to Figure 113 with larger spaces between the pipes, 
and the method of detailing the pattern is the same as 
already explained. 

Figure 123 illustrates a dome shaped canopy sup- 
ported by a molded cornice, and is more simple of 
construction than at first appears ; the molded cornice 
needs no further explanation than the front view, Fig- 
ure 123, and the side view, Figure 123 A. 

The construction of the dome can easily be fol- 
lowed by Figures 123 B and 123 C ; a light hardwood 
circular frame is first marked at intervals around the 
outer edge where the ribs are desired to be, and a 
number of straight iron wires about one-eighth of an 
inch in diameter are inserted by boring holes in the 
edge of the frame, driving in the wires as C, in 123 D, 
after which tacks are driven in beside the holes to 
swell the fibres of the wood against the wire, and the 
wires bent upright as A and B of this illustration. 
Each separate wire is bent to take the shape of the 
rib, and all are fastened at the centre temporarily ; 
when all are thus fastened, commence winding the 
three wires composing each rib, binding them solidly 
together with soft twine continuing to the centre, then 
turn the wires sharply aside, in line with the next rib, 
to which the ends are then bound, and the winding re- 
peated on each rib. 

It is desirable that no wires be permitted to con- 
tinue across the centre, but that all should turn back, 
leaving the centre free from the thickness that would 






-. ill 

■ 'I L - 
t mi 

. LI . 



i --:-' ■ i 



EMBROIDERED LACE CURTAINS AND BONNE FEMMES — 
IRISH POINT, RENAISSANCE AND MARIE ANTOINETTE. 



be occasioned by the crossing and recrossing of the 
wires. 

By crossing twines on the frame and dropping a 
plumb line over the intersections, the centre of the 
dome may be kept in line with the centre of the open 
frame (see Figure 123 C). 

When the ribs are all in position wire loops are 
run around the ribbed circle inside, at different heights, 
to strengthen them and preserve the globular shape. 
The framework is then covered with canvas, and each 
panel (the space between two ribs) is padded with 
some soft material evenly distributed and covered with 
cotton, after which the covering material is put on, a 
row of stitching holding all firmly to each rib and a 
cord covering the stitching. 

The drapery beneath the cornice of Figure 123 
combines the festoon and straight valance principles 
which have been already explained in former chap- 
ters, and the small drapery above the embroidery is 
put on separately. 

The four-poster of Figure 124 shows the applica- 
tion of a straight box pleat in keeping with the archi- 
tectural lines of the bed, and any of the draperies 
shown herewith may be applied to four-post beds if 
the general outline and style of the draperies con- 
forms to the general construction of the bed itself. 

In Figure 125 we illustrate a French canopy 
which adapts itself very readily to the decoration of 
brass beds. The dome is formed of panels of buck- 
ram or cardboard, cut to shape, and covered with the 
fabric, plain or pleated ; the panels are then sewn to- 
gether with the baseball stitch, previously illustrated, 
and a hoop fastened inside the bottom to preserve the 



shape. If heavy fabrics are desired for curtains, dra- 
pery and covering, the dome should be more substan- 
tially constructed, as described for Figure 123, dis- 
pensing with the molded cornice if desired. 

Bed canopies, no matter how light, must be care- 
fully put up and securely fastened to avoid accident. 

The back curtains, which appear in almost all of 
the illustrations presented herewith, are in some 
cases attached to the side curtains, so that the fabric 
is continuous from fringe to fringe, those of Figures 
123 and 125 being so planned. 

The back curtain of Figure 124 is shirred on a 
rod top and bottom, and stretched into pleats, while 
those shown in Figures 113, 114 and 115 may be 
treated similarly, or, as illustrated, pleated into long, 
sweeping pleats. The material is joined up, allowing 
nearly half as much again to the width, say a piece 

6 -9 for a 4 6 bed, and allow a like quantity 

(2 3) in addition to the required length. 

Spread the material out on the table, find the 
centre of the top, and measure each way on the top 
edge a distance of eighteen inches ; measure down 
each side from the top corner the distance you have 

Howe d (2 3), and rule from these marks to the 

extremities of your eighteen-inch marks ; add outside 
of this the allowance for tacking and trimming and 
trim off the corner, which means that you remove from 
each corner a piece of material measuring about 
20x24 inches, and triangular in shape. Tack the 
straight top to the back of the canopy, centering the 

goods (3 0) in the apsce (4 6) and pleat up 

the biased corners into the remaining spaces at 
each side. 



64 



TRAVERSE:, • DROP • AND • THEATRE • CURTAINS 




HERE curtains, while 
possessing decorative 
properties, are also 
to form a complete 
or partial screen at 
will, it is essential that 
their manipulation 
be simple and easy. 
For curtains which 
travel to and fro on 
a straight pole \yhile 
hanging at full length 
traverse cords are effective. This is accomplished by 
means of two pulleys, as Figure 126, the pulley marked 
A being a double pulley and B a single pulley. The 
curtains are pleated up to the required width so that 
they just nicely fill the space, and are hooked, pinned 
or sewn to the rings. Place the pulleys in position 
even with the outer edges of the curtains and thread 
a small braided sash cord (well stretched) through 
the single pulley B ; carry the doubled cord over to A 
and measure the distance, the ends will have to fall 
below A to bring them within easy reach ; allow a 
couple of feet extra on one of the cords, and cut. 
Without allowing the cords to shift in the single pulley 
fasten the short cord to D, the right hand corner of 
the left curtain, and thread the end through the double 
pulley. 



Fasten the longer cord to the corresponding ring 
at C on the right-hand curtain and thread it through 
the other groove of the double pulley. By pulling E 
(Figure 126), the shorter cord, the curtains will separ- 
ate each way from the centre, and as this cord descends 
the F cord ascends, the cords traveling in the direc- 
tion of the arrows, and by pulling F the curtains 
draw together again. 

Adjust the cords so that when F, the closing 
cord, is taut the curtains will meet exactly in the 
centre of the pole, and also so that E, the opening 
cord, is a foot higher than F when the curtains are 
closed.* 

Finish the cord ends with a weighted tassel, and, 
as will readily be seen, it is only necessary to pull the 
higher tassel at any time to alter the position of the 
curtains. 

To insure easy manipulation, it is necessary to 
have the rings large enough to travel freely upon the 
pole, and if the curtains are heavy the rings should be 
provided with small wheels or rollers which run upon 
the pole. The rings should also be free from any pro- 
jections that would catch the cord, and the hooks or 
pins should have the points bent back into the fabric 
so that the cord cannot get caught thereon. 

This method is employed for sun or draught 
curtains, and sometimes for small concert curtains. 
Another method of curtain manipulation in which the 




T,]$ ,2(. 



T$ 121 



[65] 




FIG. I29A. 




FIG. I27A. 



TRAVERSE, DROP AND THEATRE CURTAINS 



curtains draw up in drapery form is illustrated by 
Figure 127. To accomplish this effect the pair of 
curtains are pleated to size, as back view Figure 127 
A. Spread flat on the floor, and with a cord attached 
at A, the inside corner of the curtain, a quarter circle 
is struck from the outside corner to a corresponding 
position on the front edge of the curtain. 

Rings are sewn to this line, and a cord which is 
attached to B is threaded through the rings, passed 
over a pulley at C, and across and over a large pulley 
at D, and brought down to the floor, as E. 

A pull on the cord at E now causes the cord to 
draw up through the rings on the curtain, the material 
gathering into folds because of its weight, and the re- 
lease of the cord allows the curtain to swing back 
again into place. By arranging both curtains in this 
manner and drawing them simultaneously a pretty 
draped opening is produced, as Figure 127. 

For a heavy pair of curtains, attach the cords, 
after passing over pulley D, to a counter weight, and 
either attach a separate cord to the B cord immedi- 
ately above A, the centre of the curtains, and bring it 
over D and down to E, so that a pull at E sets the 
pulley and weight in motion ; or arrange as explained 
later for Figure 129 A. 

If it is desired that the front edges may draw 



completely up to the pulley, forming two festoons, as 
Figure 128, more sweep must be allowed on the front 
edge than on the top, and can be easily calculated by 
moving the stationary end of the marking cord out 
beyond A the distance desired to give the required 
sag to the bottom edge when drawn up (see X, Figure 
127 A, and the dotted sweep). 

Figure 129 illustrates a drop curtain made after 
the style of Austrian shades, as explained in the chap- 
ter on blinds and shades. The back view (Figure 1 29 
A) shows the method of running the lines to a counter 
weight, which balances the weight of the curtain and 
is controlled by two lines — J, leading from the weight 
to the small pulley F, and down to the floor pulley I ; 
H, the other line, leading from the weight down. 

As will be readily seen, this line is continuous 
from the top of the weight around to the bottom of it, 
and the curtain is raised by pulling line H, which 
lowers the weight and is lowered by pulling line J. 

We have used the plans outlined by Figures 127 
and 129 for temporary drop curtains forty feet high 
by eighty feet wide with complete success. The back 
view of Figure 129 A illustrates the method employed 
for swinging a temporary drop curtain of these 
dimensions across a hall that had no curtain facilities, 
bare walls and rounded ceiling, it being accomplished 




^%^^pf^pi^i^7 



~Pi<g 130 fit 




NRISE-BISES SUSPENDED FROM CURVED RODS AND AUSTRIAN SHADES THAT CURVE TO MEET THEM. 



by three groups of stay lines (B) drawn up through 
the ceiling, each line adjusted to the proper tension 
while slightly hoisted, and the curtain itself attached 
to batten D, which is built up of i x 4-inch stuff to 
aggregate 2x4 inches. The top of the curtain re- 
mains stationary, the bottom shirring to the desired 
height, the deep flounce forming a decoration to the 
bottom edge when in either position. 

The drawn lines K are attached to the bottom 
batten C, and are adjusted evenly over the individual 
pulleys L, and all carried over E and attached to G, 
the counter weight. To prevent the draught from 
blowing the curtain out small loops of stiff wire, as 
M, Figure 129 A, are attached to the sides of the 
curtain, and traverse freely up and down the guide 
wires A — A. 

Should a curtain of this sort be desired as a per- 
manent theatre curtain, it may be prettily made as 
Figure 130, which is drawn up by means of strips of 
webbing or leather, which pass through covered metal 
keepers on the face of the curtain and are attached to 
the bottom batten. 

These pass over pulley wheels at the top, as 
Figure 130 A, and are fastened to a bar counter 
weight which balances the weight of the movable por- 
tion of the curtain, and is put in motion by causing 
the shaft to revolve in the desired direction. The 
theatre curtain which rolls from the bottom, as Figure 
131, is fastened to a batten at the top and a roller 
attached to the bottom. The method of constructing 
the roller is shown in Figure 132. A sufficient num- 
ber of six-inch circles of clear pine are procured to 
allow of one being placed every twelve inches, and 
these are sheeted round with ^ x 2-inch strips of 
clear, straight pine, kiln dried, each piece securely 
fastened with screws to every circle it touches, and 



the joins all made where supported by a circle. The 
whole roll is then wrapped with a strip of coarse 
canvas plentifully supplied with a solution of hot 
glue, care being exercised to keep the wrapping uni- 
form and tight. 

The roller is made long enough to contain a large 
spool at each end, and works equally well at the 
bottom of the curtain, where it rolls up with it, or at 
the top, where it revolves in brackets and winds the 
curtain up. The rope which causes the roller to re- 
volve is first wound around the spool a couple of 
times when the curtain is altogether rolled up, and 
as the curtain is unrolled, the spools take up a suf- 
ficient quantity of rope, so that pulling the rope 
causes the spool to revolve and the curtain to roll up. 

Some of the more recent theatre curtains are 
stretched on a frame like a picture and rise flat, like 
the lower sash of a window. They are not difficult of 
manufacture, but require that the proscenium and fly 
loft be as high again as the stage opening, and the 
curtain is arranged with counter weights and side 
guides, as Figure 129 A. 

If you consider the batten D of Figure 129 A as 
the top of the fly loft, and batten C as the top of the 
curtain, the lines K are correctly placed to raise the 
curtain until C comes in contact with the pulleys L. 
The whole frame will have then been drawn up this 
distance, and it is only necessary to have batten D 
high enough to permit of the curtain being drawn out 
of sight. 

We show the hand line E on Figures 131 and 
127 A to illustrate its position if the curtains should 
be manipulated by hand without a counter weight, 
but for permanent curtains the plan of 129 A, with 
the continuous operating line, will be found much 
better. 



68 







LOUIS 



X I - I 




LOUIS 



X I V 



INTERIOR • GROUPING. COSEY ■ CORNERS. WALL-HANGINGS 




HAT there is a knack 
in the selection and 
disposition of furni- 
ture beyond the hap- 
hazard placing of odd 
pieces inside four 
walls is a fact admit- 
ted by housekeepers 
generally. That this 
knack is possessed in 
a very limited degree 
by the average house- 
keeper is impressed again and again on the mind of 
the observant decorator. 

We have heard the statement that houses deco- 
rated and furnished by the professional decorator lack 
that something — that indefinable charm — which can 
only be imparted by the touch of the homemaker 
woman. In other words, that man can make houses 
but woman makes homes. This is beautiful as a the- 
ory, but as a matter of fact the average drawing-room 
— woman's particular 'care — contains enough incon- 
gruities to shock the artistic sense of the most liberal- 
minded of decorators. 

The writer does not lay claim to any special dis- 
pensation of taste nor any extraordinary degree of 
artistic training, but he has seen scores of rooms which 
by their furniture selection and arrangement were a 
jumble of inarticulate profanity and defeated the pur- 
pose for which they were intended. 

I have in mind the drawing-room of a wealthy dry 
goods merchant (who is something of a curio hunter), 
that is, considering the individual pieces, rich and 
sumptuous, but the assembled whole is such a con- 
glomeration of style, design and color that it gives 
one the impression of a bazaar. 

Another expensively furnished drawing-room which 
occurs to my mind imparts to the observer a feeling 
of strangeness. The various pieces are not only un- 
related, but are so conspicuously separate in style 
and purpose that they are not even acquainted. 

Then there are drawing-rooms that are so repellen t 
because of their military austerity that the back of 
the visitor unconsciously stiffens and he feels that his 
entrance is presumptuous. 

We have purposely drawn these descriptions in an 
exaggerated sense that we might in some measure 
give point to our statement that every room of a 
house should have as the fundamental purpose of its 
creation the comfort of mankind. And as man is 
many sided in his nature, having many moods and 
needs, these different moods create the necessity for 
a varying environment suited to the complexity of 
the hour. 

Thus we have a sleeping-room, a dining-room, a 
reception-room, an entertaining-room, a cooking-room, 



and so on, each designed and furnished to create the 
atmosphere and stimulate the spirits of the occupant 
to the mood which the environment best serves. 

The man who told his friend in confidoicc that the 
architect wanted to put a drawing-room in his new 
house, and he supposed he would have to have it, 
though it was no earthly use to him, for he couldn't 
draw a straight line, was in his way thinking pretty 
close to the line of purpose in home making, which 
should be the dominant factor in the furnishing of 
every room. 

A sleeping-room should be not only provided with 
a bed and its complement of clothing, but in its loca- 
tion, furnishings and color theory should suggest rest- 
fulness, simplicity and repose. That this might be 
more easily produced, we would suggest the use of 
modified color and slight gradations of tone through- 
out, using a. monotone or duotone carpet of a modi- 
fied shade (a normal color is modified by the addition 
of white and intensified by the addition of black), a 
lighter shade of the same color introduced in the 
movable furnishings, as furniture and hangings, lighter 
shades still in the side-wall and frieze, and modified to 
the barest suggestion of a tint in the ceiling. 

Avoid stimulating contrasts and keep to the same 
balance or modification of color where the slight con- 
trasts are introduced. 

For the living-room heavier colors and sharper con- 
trasts may be introduced. But the same strength of 
color should be present in all contrasts, that the sense 
of balance be maintained. In the living-room will be 
assembled those with varied interests and purposes. 
So there will be present more or less of a jumble 
of different things which for the moment interest 
the various members of the circle. Consequently 
more license is permitted in the furnishings. But 
those things which by their design or construction 
suggest austerity or dignity should be forever ban- 
ished from this room. In fact, we know of no room 
in the modern house where there is space to waste 
on furnishings which suggest or actually impart dis- 
comfort. 

The dining-room should be cozily, even joyously, 
furnished with those colors and designs which suggest 
strength and satisfaction. No half-way colors or de- 
signs will answer here. The tones used must be full, 
rich, satisfying, and the furniture should complete the 
suggestion. The prevailing styles of dining-room 
furniture — particularly of the chairs — seem to have 
been purposely planned utterly devoid of comfort, 
that the occupant might not even for a moment be 
lulled into forgetfulness of the business at hand, but 
be urged to prosecute it with dispatch and seek com- 
fort elsewhere. 

Much the same thought seems to have established 
the prevailing styles of hall chairs and seats. Truly, 



69 



INTERIOR GROUPING. COSEY CORNERS. WALL-HANGINGS 



if the chance guest who must needs occupy one of 
them until his identity is established should judge of 
the hospitality of the host by the comfort of these 
furnishings, he would make haste to depart while his 
wearied limbs could still perform their office. 

The reception-hall and drawing-room are, perhaps, 
the two places most anxiously considered in the plan- 
ning of the house. There seems to be a mistaken 
idea that these places, which are most seen by stran- 
gers, should be furnished as 
an advertisement of the finan- 
cial standing of the owner. 
No matter how much the rest 
of the house may suffer, these 
places must be lavishly, even 
extravagantly, replete with 
everything that custom or- 
dains as necessary to a stylish 
house. Against extravagance 
as to value we have no quarrel, 
provided all things are in keep- 
ing, but we do oppose the 
garish assembling of costly 
goods which do not make for 
comfort or beauty or utility. 
Have extravagance if you will, 
but not riot ; luxury, but not 
profusion ; comfort, but not 
stock display. 

As to the arrangement of 
the various pieces of furniture 
we would strongly advise a 
study of nature's scheme. 
Note the variety of shapes 
and sizes of the trees of the 
forest ; the broken, sympa- 
thetic, undulating surfaces of 
undisturbed mother earth. 
Note how well acquainted and 
even familiar the various parts 
of the landscape seem to be ; 
how the tall tree nods and 
reaches down to the short one 
and the low one reaches up to 
the high one ; how the knoll 
sweeps gracefully down to 





the level glade and how the g 




lade runs up to the 
knoll. 

Everywhere is 
the charm of re- 
lated variety and 
harmonious group- 
ing of equalized dif- 
ferences. 

Everything in 
nature i s formed 
and placed for pur- 



pose, and here is the keynote of harmonious interior 
arrangement. For instance, here is a drawing-room 
with appropriate and well-chosen pieces of furni- 
ture. How then shall we arrange them ? 

Imagine the room peopled with a chattering gath- 
ering of average people. This stout all-over-uphol- 
stered armchair would be occupied by one of the 
portly members of the group, and as these persons 
would by contrast appear larger and more portly in 
contact with those of lighter 
build (a chance of comparison 
which they studiously avoid), 
we will dispose the heavier 
pieces of furniture, if not al- 
together removed from the 
lighter and more frail, at least 
with intermediaries between 
in the shape of pieces which 
possess, in a measure, the 
characteristics of both. 

Preserve the balance of 
the room by distributing the 
weight much as you would if 
it were a disk revolving on a 
central point. If there is a 
mantel here on the left, over 
there somewhere on the right 
would be a good place for the 
upright piano. If the cosey 
corner is in the southeast 
corner, then the eye instinct- 
ively seeks a corresponding 
piece of capacious seat room 
in the vicinity of the northwest 
corner. Continue thisthought. 
Seat your imaginary guests in 
neglige conversational groups, 
drawing some of the pieces 
confidentially near to each 
other, and you will in a great 
measure have solved theknack 
of pleasing furniture arrange- 
ment. 

To reach this consumma- 
tion we said that the articles 
were in the first place appro- 
priate and well chosen, and this, of course, must be 
the basis of the furnishing scheme. 

If we might, we would plead for greater sim- 
plicity in furniture selection, less of the garishness 
and more of the substantiality of goods built to sat- 
isfy and to last ; not necessarily the cumbersomeness 
of Mission, but the pleasing styles of Sheraton's work, 
where strength was clothed with grace of outline and 
disguised with unobtrusive ornamentation. We look 
for a style somewhat similar in character and purpose 
to grow out of the present Arts and Crafts and Mis- 



i^i^'wra'ifttfmiwmff'wrfmSEL 



70 



INTERIOR GROUPING. COSEY CORNERS. WALL-HANGINGS 



sion, which have appealed so strongly to ornament- 
satiated appetites ; that grace will be added to strength, 
and chaste ornament to simplicity of construction. 

COSEY CORNERS. 

All that has been said in regard to appropriate- 
ness in general furnishings is true in a concentrated 
sense of the cosey corner. Applicable and suitable 
in almost every room of the house, it should be all 
that the name implies. The simple desire for its pos- 
session should be no excuse for its introduction in a 
location where coziness or even comfort would be an 
impossibility. A cosey seat should never be placed 
in a position where its presence would constitute a 
nuisance, as before a window or in a doorway. It 
usually appears lonesome away from the wall, and as 
its atmosphere is retiring it should occupy the least 
conspicuous position. It is not intended as a single 
seat, and should therefore be fairly commodious but 
not oppressively large. And, above all, it should be 
comfortable. 

As to color, the cosey seat and all other large 
upholstered pieces should follow the dominant color 
tone of the room, the contrasts being introduced in 
the smaller pieces. 

We illustrate a few of the treatments which serve 
this useful purpose and conform to the prevailing 
thought in regard to style, shape and general utility. 

Figure 133, one of the common types, is con- 
structed of a bench seat, loose cushion, box pleated 
valance, and curtain back. In suitable covering this 
style could be introduced in almost any room of the 
house, but is most used for den, sitting and bedroom 
corners. 

Figure 135 illustrates an all-over-upholstered seat 
and back with bric-a-brac 
shelf. This style is capable of 
a great deal of elaboration and 
is much used for reception 
and drawing-rooms. Made 
with a polished wood frame 
instead of the stuff-over, it is 
much more dainty in rooms 
where the other furniture is 
delicate and of the show wood 
variety. 

Figure 134 is a heavier 
type and more after the style 
of Arts and Crafts. Built to 
conform with the other fur- 
nishings, this style is very 
appropriate for dining-room, 
library, hall, club or den cor- 
ners and lends an air of solidity 
to the room it occupies. 

Figure 136 illustrates a 
den seat with over canopy — 

[71] 



the seat is provided with a loose couch throw or 
cover and the canopy is made up of two scarf draperies 
and a pair of curtains with a shirred roof of a plain 
color to match the draperies. 

There is opportunity for a great deal of ingenuity 
in the construction of these fitments, and by following 
the motif or theme of the general furnishing scheme 
of a room you will have little difficulty in evolving 
fitments that will not only suit their environment, but 
will be an artistic addition to the furniture of the 



room. 



WALL-HANGINGS. 




If the walls of a room are covered with a fabric 
there is usually less difficulty in working out a com- 
plete scheme of color harmony, and for that reason the 
use of fabric wall coverings is usually recommended 
by the decorator who undertakes the complete fur- 
nishing of a room or suite. 

Although there are little tricks and wrinkles for 
the application of special fabrics to special places 
which are acquired by practice, in the main wall 
covering is quite simple. 

In Figure 137 we show the plan of a room measured 
for covering. The walls are drawn as if they had been 
pushed out flat like the sides of a cardboard box. 
Each wall is measured separately, and the positions 
of doors, windows, recesses and projections accurately 
indicated on the plan by the proper measurements. 

To cut the sections for a wall such as we illus- 
trate commence with section i,and each separate sec- 
tion is cut and matched to the preceding one, so that 
the pattern will be continuous around the room ; this 
requires nice calculation to allow for the quantities of 
pattern that are consumed by the tacking and back 
tacking in the angles, but an 
allowance of two or three in- 
ches extra each way will us- 
ually be found sufficient to 
allow of the pattern being 
matched, provided the lengths 
have been cut at the same 
pattern. 

Upright seams only are 
permissible in wall fabrics, 
and these should be as few as 
possible and perfectly plumb. 
After having cut the first 
length with about three inches 
extra for handling, if the next 
length when matched would 
cut to waste, try one of the 
shorter lengths or two of the 
short ones together — if this 
still causes waste try the 
other end of the goods — never 
cut goods to waste until you 



\ 



INTERIOR GROUPING. COSEY CORNERS. WALL-HANGINGS 




have exhausted every expedient you know to avoid it. 

Beveled wall strips, as Figure 138 A, are placed at 
top, bottom and both sides of every separate space as 
well as around all projecting frames, as windows and 
doors; these are securely fastened to the studding by 
nails or screws, and all holes in the plaster covered 
with pasted paper to prevent dust sifting out. 

The double lines of Figure 137 illustrate where 
beveled strips are necessary and provide for two in 
every angle corner and two also on the face of each 
projecting corner. 

One of those, however, used in each angle, as num- 
ber 2 of Figure 138 B, is only tem- 

porarily fastened at first. Com- 
mencing with section 1 cover the 
walls first with shaker or canton 
flannel lining tacked smoothly and 
evenly on the strips, as Figure 138; 
next spread the covering out, attach- 
ing it temporarily to the top strip 
until you get it in place, then com- 
mencing in the centre at X tack 
each way, keeping the edge 
straight and tight, but not 
stretched. Drop a plumb line from 
the top over the centre seam and 
stretch the seam down as the line 
indicates, tack it temporarily, and 
do this with all the seams ; now pull 
down half way between the seams 
and tack permanently, halve the two 
spaces thus made and tack again 
and continue halving and tacking 



until the bottom is all tacked in place, taking care to 
stretch the goods so that the pattern is perfectly 
straight at the bottom. 

Now stretch each side and tack it closely into the 
angles, as the tacks on strip number 1 must be covered 
by the thick edge of strip number 2, Figure 138 B; 
now take the loose strip number 2 which was re- 
moved to allow the tacks to drive close up into the 
corner. 

After matching the exact part of the pattern 
which is to turn in of the next section, tack the 
marked edge of goods to the back edge of strip 2, nail 
the strip in place so that there is no gap between the 
two angle strips. Cover the wall with lining and 
stretch the cover across from the tacked side, fasten 
it temporarily and then commencing at the side which 
is fastened permanently tack across the top, keeping 
the top tight, but not stretched, stretch down and 
plumb the seams and finish as before. 

The detail of procedure for Figure 137 would be 
as follows : Section 1 tacked all around. Section 2 
back tacked at B stretched around C and to tack at 
E. Section 3 back tacked at E and stretched to F. 
Section 4 backed tacked at F and stretched around 
G to H. Back tack Section 5 at H, stretch to I. 
Back tack 6 at I, stretch to J. Back tack 7 at J, 
stretch around K and L to M. Back tack 8 at M, 
stretch to N. Back tack 9 at N, stretch around O to 
angle P. Back tack 10 at A, stretch around S to R. 
Back tack half of 1 1 at R and half at P, and stretch 
each to join at L, which has.been chosen as the small- 
est place for a join to be made by hand. 

Finish at top and bottom and around windows 
and doors with a gimp or molding, and the room is 
complete with continuous pattern and every tack 
concealed. 




L72] 



AWNINGS 



AND 



VERANDA 



C U R£T(|A I N S 




WNINGS are natur- 
ally divided into two 
classes — house awn- 
ings and store awn- 
ings. Of the first, 
Figures 139, 140 and 
141 illustrate the 
kinds of windows most 
frequently met with. 
Figure 139 is an ordin- 
ary square top win- 
dow, of which Figure 
142 A is a side view in skeleton, showing the method 
of attaching the frame to the window, and also the 
relative size of the awning to the window. 

To measure this window for an awning, measure 
the width of frame from centre to centre (A — A), and 
half the distance from the top of the frame to the 
sill, with three inches added (A — B). These measures 
are simple, but should be carefully taken to ensure a 
good fit. Take note also of any projections of stone 
or brick which would prevent the awning fitting 
closely to the frame all around, and be sure to allow 
for these when making the awning. 

Figure 141 is measured in like manner, and a 
record also made of the depth from the top of the 
centre to the top of the straight side of the frame 
(C — B). The round top (Figure 140) is measured for 
width and height as the foregoing, but the height of 
the circular sweep must also be taken. Stretch a 
tape or cord across at B — B, the spring of the arch, 
and then measure the distance from this to the top of 
the frame (B — C). If the windows are so constructed 
or are in such a position that a projection of three 
inches more than half the height would not be permis- 
sible, a measurement must be taken for projection 
also ; but if there is nothing to interfere with this 
amount of projection the height measurement will be 
sufficient to determine the amount of projection. 

When ready to cut the goods, mark out on your 
awning table (which should have a top measurement 
of at least 5.0 x 8.0, and larger if possible) the 
measurements as follows : On one end of your table 
(Figure 143) draw a line across it parallel with the 
end and eleven inches from it. Now, attaching a 
tape at A, one end of your line, measure across to B, 
the projection of your awning (A — B, Figure 139), 
which is half the height of the window and three 
inches extra. Place a tack at B, the point thus de- 
termined, and then measure up the table the height 
of the awning (in this case the same as the projection). 
Place a tack at this measurement (D) also, and chalk 
a line across the table ; fasten the tape at tack D, 
draw it across to tack B and down to C, the end of 
the table, as indicated by the heavy line ; add a couple 



of inches for hems, and this measurement represents 
the length of the top of the awning. 

Plate 155 is a ready-reckoner for quantities re- 
quired for the sizes therein contained when the pro- 
jection and height are the same. To find the height 
required for the top of a given size, take, for instance, 
3.0 projection by 3.0 high (3.0 x 3.0), the top measure- 
ment is 4.3 ; add 1.0 for curtain and the total 5.3 is 
reached. 

To determine the number of widths required to 
make the width of the awning, refer to the width table, 
which gives the finished measurement of different 
numbers of widths when joined together. Cut a suffi- 
cient number of lengths the size needed as measured 
from D to C and join them up to aggregate the width 
of the top of the awning. To cut the ends draw another 
chalk line eleven inches beyond point D on your table 
and mark the projection on it (F, Figure 143) and rule 
from F to C, the end of the table, cutting through B ; 
snap a chalk line from B to D (as heavy line, Figure 
143). Take a flexible slat, and placing it against the 
tacks at D and B, bend it an inch beyond the chalk line 
at G ; mark the curve thus described as dotted line and 
repeat on the other side of the line. Cut out along 
the two curved lines and across at F, which will give 
you two complete ends, and if the goods are reversible 
(i. e., the same on both surfaces), by turning one end 
over these two form a pair. 

Should the goods not be reversible, and there are 
two awnings to make which are the same size, mark 
one set (as Figure 143), and the next set biased from 
A to H, and this will give you two pairs of ends. Or, 
if only one awning is to be made, and the goods are 
not reversible, each end is planned out separately by 
ruling the pattern (as Figure 143) and piecing the 
goods out to fill the space outlined by D — B — C 
and I. 

To assemble the pieces the ends are joined to the 
top, as indicated by figure 144, the edge of the top 
forming a binding over the biased edge of the end 
(see Figure 144 A, a cross section of the seam*. 
Scallop the bottom edge as indicated by dotted lines, 
so that each stripe centres in the scallop (as Figure 144) 
and sew a two-inch strip or band of the duck on the 
inside of the awning to receive the iron, as indicated 
by dotted lines, Figures 144 and 145. Figure 145 also 
indicates where patches of the same material, about 
four inches square, are sewn to the top (inside) to re- 
inforce the rings through which the ropes pass, and 
the method of attaching the rope to the iron, small 
openings being left in the band for this purpose. 

Awning rings are sewn along the top edge at 
intervals of six inches, and also one at each end of the 
band, as X, Figures 144 and 145. Mount the awning 
by sliding the iron through the pocket between the 



73 






r.£ '■>t>/\ 




T.- S 1*1 



¥, 




~rtq if? 



I 




AWNINGS AND VERANDA CURTAINS 



band and the awning proper ; thread the ropes through 
the rings so as to lead to the right side of the awning 
from inside the room, as Figure 145, and as Fgures 142 
A and B, which show an awning iron in position, but 
uncovered to show the roping. 

To p«t up the awning, fasten the cleat B (Figure 
142 A) in position, then, by measuring the positions 
of the ropes on the front of the iron, determine where 
pulleys or screw-eyes will have to be placed to be in 
line with the ropes ; put these in and pass the ropes 
through them, pull up the awning and fasten the 
ropes to the cleat. The weight of the awning is now 
held in position, and it is a simple matter to put in 
the hooks at the top, one for each ring. Lower the 
awning until it hangs in position (as Figure 142), the 
iron supported by the cover. Adjust the feet at A 
(Figure 142 A), so that the iron hangs square and 
true, and fasten them in place. Test the ropes to see 
that the awning raises properly and easily, and the 
job is complete. 

For round elliptic or shaped tops, as Figures 140 
and 141, we prefer to cut the awning from the iron 
itself. Fasten the iron to the floor (as Figure 146) 
and then let it lie flat, as dotted line, while you mark 
out its shape and dimensions on the. floor. Raise it 
again to the perpendicular and fasten it with a cord, 
as indicated, so that it will stay in an upright position. 
Measure the distance from A en the dotted line to B 
on the iron ; allow a couple of inches at each end for 
hems, and cut a length this size. 

Try this on the iron and dotted line, and measure 
the length for the next piece 'to join to this one. 
Repeat this until enough are joined to reach around 
the iron, and commencing in the centre of the iron 
and dotted line pin and tack the goods smoothly to 



the shape thus outlined, working all the fullness out 
to the corners (as Figure 146 A). Mark the line de- 
scribed by your tacks, which have followed the dotted 
line on your floor, and mark the goods on the edge of 
the iron all around; allow for seams beyond these 
marks and cut the surplus away. Turn a half-inch 
hem around the edge marked on the floor and sew 
rings to it for the top edge. Cut and scallop a piece 
long enough to go around the length of the iron and 
sew this to the edge of the cover where marked on 
the iron. Lay the scallop and cover face to face and 
take an ordinary seam, so that when the seam is 
opened out the raw edges will be on the under side ; 
sew a two-inch band beneath this seam for the iron and 
patch and rope it as before. 

This is the simplest and most certain plan of 
getting any shape other than square to fit the iron 
properly. 

The foregoing methods apply to all iron-frame 
awnings where the height equals the projection. It 
is sometimes required, however, that the projection 
be greater than the height, that the necessary shade 
be obtained and not have the frame so low that it 
would interfere with ordinary traffic beneath it. 

To overcome this difference slides may be used, 
like Figure 147, which permit the iron to drop to their 
lower ends, as X — X, dotted bar, when drawing up 
the awning, and the irons are pushed up and pinned, 
as illustrated, when the awning is fully extended. 
Awning covers for irons with slides have a band on 
the front edge only, as side-bands would prevent the 
iron from descending the slides. The bottom corner of 
the awning is held in place by a ring and hook at the 
top of the slide. 

Figure 148 illustrates another method of obtain- 




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VIEW INSIDE or VERANDA 



[75] 





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ing a greater projection than the height by using an 
extended bracket, the iron throwing up as dotted bar 
X — X ; while dotted bar, Figure 148 A, would give 
greater projection, still on the same bracket, by in- 
creasing the length of the bar and lowering the bracket 
till the straight part of the bar is on a level with the 
front of the awning. 

For awnings wider than 6.0, with a projection of 
4.0 or over, the iron is usually made in three sections 
(as Figure 149), and if more than 9.0 wide a centre 
support is put in like Figure 149 A. Small store 
awnings may be made as above, but for large sizes 
roller awnings (as Fgure r5o) will be found much 
more substantial and easy of manipulation. 

The roller is either made of iron tubing wrapped 
with canvas and the cluck sewn to it, or it can be built 
up of wood (as Figure 150 C), the laps or joints wound 
with band iron and the whole securely nailed to- 
gether. 

Put an iron hoop on each end to keep the pin from 
spreading it, and provide one end with a spool (as X, 
Figure 150 B). The rope is attached to and wound 



Trattti- o< *,,di>.t of 51 inch iutt -cm-si 



, $S Uidtha 




upon the spool and the roller put in the brackets. If 
the roller is long enough to require a centre support, 
Figure 149 B provides an excellent bracket. The 
side arms are placed in position as indicated in Figure 
150, so that they will throw up straight with the edge 
of the bar in line with the roller (Figure 150 B). The 
bar is made of clear straight pine 2x4 inches, and 
the duck is first tacked to the roller and then to the 
bar, as Figure 150. 

The ends are made and attached, as illustrated 
by Figure 150 A, and need not be further explained. 
The awning is manipulated by pulling the rope which 
unwinds, causing the roller to revolve and releasing 
the rope allows the weight of the awning to make 
the roller revolve the reverse way, winding up the 
rope. 

Veranda awnings are constructed as are other 
awnings, and increase the comfort and shade of a 
veranda, the same rule of proportion as given above 
being used in the measuring and the feet of the iron 
attached to the posts of the veranda. In many cases 
veranda awnings are impracticable, and veranda 
curtains are used as a substitute. These are con- 
structed to work horizontally (as Figure 151), or 
mounted on rollers (as Figures 152 and 153). Of the 
two styles those of Figures 152 and 153 are more 
preferable, because when not in use they may be 
drawn up completely, while the other is more or less 
exposed to the elements at all times. 

The rollers may be a spring shade roller mounted 
in the ordinary way, or a roller with a spool and cord, 
identical in principle with the roller shown in Figure 
150, and the bottom of the curtain is provided with 
snaps to hold it in place when down. 

In Plate 154 we give a table of the ordinary sized 
awnings, giving the quantities of iron and duck re- 
quired in their making. We have figured on thirty- 
one-inch reversible duck, cutting the ends as marked 
out in Figure 143. 

The awning trade is essentially a Summer trade 
and the season necessarily short, and as customers 
usually postpone the purchase of these things until 
they are really needed, this work must be handled 
quickly to be successful. We have found it a good 
plan where possible to arrange for recovering and re- 
newing this work for regular customers during the 
late Winter months, when the workroom is apt to 
be a little slack. . 



76 



THE 



APPLICATION 



O F 



GRILLE 



woRn 




R I L L E work, fret 
work or lattice work, 
as it is variously 
termed, may, when 
properly applied, 
serve a very useful and 
decorative purpose. 
Like many other dec- 
orative articles, how- 
ever, its uses are not 
always governed by 
its limitations, and it 
is frequently misapplied. 

As an aid to decorative fabrics in the artistic re- 
duction of large openings, or as a partial screen or 
division that will not altogether obstruct either the 
vision or the light, it is unequalled by any other up- 
holstery adjunct. Setting aside its uses for office 
railings, partitions, etc., in which we are not particu- 
larly interested, we consider it solely as a household 
fitment. 

Unlike other furnishings, such as draperies, chairs, 
tables, etc., the grille is essentially a part of the room 
itself, and should conform to the style, color and com- 
position of the wood trimmings of the room, which 
practically means that the fitment must be made to 
order. 

There are scores of ready-made stock grilles and 
patterns on the market, some of which can be applied 
with comparatively little trouble to different purposes, 



but their greatest drawback as a general decorative 
stock is their set style and finish, and consequent lack 
of sympathy or relation to other furnishings. 

We have been continuously advocating uniformity 
or conformity as the foundation of decorative thought, 
and in no branch of the trade is this more necessary 
than in the application of grille work. Few people 
would have the courage to advocate the use of 
quartered-oak polished doors in a room with white 
enameled wood trims, and yet grille work made and 
finished in natural oak is confidently shown by 
some salesmen as equally suitable for weathered oak 
dining-rooms, Oriental dens or Louis XVI drawing- 
rooms. 

This, of course, is the salesman or check-book 
holder's end of the business, and with incentives in 
the way of tally sheets and selling percentage, 
small wonder if he considers the amount of the sale 
rather than the suitability of the article. It would be 
better for the trade generally if every salesman could 
have expert training in the application of the goods 
he sells, and we believe this is possible to the man 
who studies and profits by experience. "There is 
always information for the man who is willing to dig," 
but until this is considered possible the decision as to 
fitness rests with the decorator. 

We illustrate suggestively a few designs in which 
the practical element is as much considered as the 
decorative. 

In Figure 156 grille work is used to break the 







[77] 





length of a room and form a partial division. The 
weight of the whole treatment should be carried out. 
in keeping with the woodwork of the room, and also 
with due consideration of the size of the room itself, 
a large room requiring the use of heavier woodwork 
than a small one, and the columns properly propor- 
tioned to the amount of woodwork in the upper por- 
tion of the grille which they support. 

This treatment can be effectually employed to 
divide a large bay window from the room proper, to 
divide a hallway, or to reduce the size of a large open- 
ing between two rooms. 

Figure 157 .illustrates another application of the 
same idea, with one side only supported from the 
floor. While it is not absolutely necessary that the 
pattern in grill work should be exactly duplicated on 
each side of the centre, the balance or symmetry 
must be retained by having the same body or expanse 
of woodwork on each side of the centre, or when a 
drapery is used, as in this case, it should be so dis- 
posed as to equalize the appearance of the grille by 
having the heaviest part of the drapery opposite to 
the heaviest side of the grille work. 

Figure 158 illustrates an archway treated with a 
grille and drapery forming an entrance to a bow win- 
dow. Both sides of this treatment balance, and the 
depth of the whole is determined by the height of the 
room, sufficient room being provided for a comfort- 
able passage beneath. 

High doorways may be reduced in height by 
using a straight panel of grille work, as Figure 159, and 
when used in conjunction with a pair of portieres the 
slim appearance imparted to an opening by long, 
straight portieres may be avoided. 

Rope portieres, as shown in Figure 159, serve 



much the same purpose of transparent decoration as 
grille work, and may be effectively employed for door- 
ways, archways, alcoves, etc., and as they can be so 
easily procured in special colors to match their sur- 
roundings, they have become quite popular. 

In Figure 160 we illustrate a combination of scarf 
drapery and grille corners. This idea can be em- 
ployed in a great many ways, and with different designs 



mm&r. 




79 



of corners (which can be finished to match the desired 
woodwork), some very effective trims can be pro- 
duced. 

The metal grille shown in Figure 161 is made of 
strap iron or brass, bent to shape and riveted together 
in a frame. It is provided with two incandescent 
lights, serving for 
illumination as 
well as decoration, 
and squaring the 
arch for straight 
portieres. 

This idea of 
doorway illumina- 
tion has recently 
been elaborately 
introduced by the 
Parisian decora- 
tors in the form 
of festoons of 
electric jewels, 
which scintillate 
and glow with 
beautiful prismatic 
colors. 

A door 
treatment after 
the style of Fig- 
ure 162 would 
form an attract- 
ive treatment 
for club, hotel or 
ballrooms, and 
the idea admits 
of almost endless 
variation. 

Grilles are 
also made of rat- 
tan, the patterns 
made up in the 
scrolls and 
spindles common 
to rattan furni- 




ture, and ordinary manila rope, stiffened with glue, 
while bent into circles and scrolls, can be assembled 
into very attractive grilles, which are shellacked and 
varnished in natural or tinted colors. 

Some of the mistakes most frequently made in 
the application of grille work are characterized as 

follows : 

" Using a de- 
sign foreign to the 
style of the room." 
"Using too 
much grille for the 
size of the space." 
"Using dimin- 
utive designs for 
large spaces, and 
vice versa." 

" Poorly-bal- 
anced, top-heavy 
or lop-sided de- 
signs." 

" Inharmoni- 
ous coloring." 

Always use a 
rule or rod when 
measuring for 
grille work ; never 
a tape. Take a 
pattern of all irreg- 
ular spaces and fit 
the pattern into 
the space to insure 
its correctness be- 
fore making the 
grille. 

The prettiest 
design may be 
hopelessly spoiled 
by a poor fit, and 
measurements 
should be abso- 
lutely accurate. 




L80] 



WORKROOM 



AUXILIARIES 




I HE workroom should 
be cheerful and well 
lighted ; roomy and 
well equipped. Some 
upholstery man- 
agers, evidently con- 
sidering the work- 
room a disagreeable 
though necessary part 
of the department, 
do not give sufficient 
attention to its loca- 
tion and furnishing. Perhaps one of the reasons 
why the average upholstery buyer does not think 
more highly of the workroom is because of 
the unsatisfactory comparison it presents to the 
strictly merchandise end of the business. He 
has comparatively little difficulty in figuring the 
percentage of gain on twenty-five or fifty yards 
of material cut off the piece and delivered, and 
can easily determine whether the transaction was 
profitable or otherwise. But send that twenty-five or 
fifty yards of material through the workroom, and 
unless he is a practical man, 
thoroughly understanding 
the nature and value of the 
work performed, he is apt 
to feel that the ratio of 
profit is uncertain. 

We know of but one 
way to offset this feeling, 
and that is by a carefully 
thought-out system of tally- 
ing, so that each item that 
passes through the work- 
room will be accompanied 
by a voucher that shows 
correctly all details of the 
work performed. 

Briefly enumerated, 
the points to be covered 
in a system are about as 
follows : 

i. A careful check on 
every item of material 
directly or indirectly sup- 
plied to the workroom. 

2. A careful charging- 
up in the workroom of 
every item consumed in 
the completion of the work. 

3. A serial numbered 
sheet for each workroom 
order, which is filed and 
indexed on the completion 
of the work. 

[Si] 




4. All goods taken from the department for use 
in the workroom should be duly accepted, measured, 
checked and receipted for by the head of the work- 
room and the receipt immediately deposited in the 
office. 

5. All goods received from the workroom should 
be examined by the salesman whose order they are, 
and all surplus goods checked and receipted for by 
him. 

6. All goods taken to the workroom should be 
accompanied by fullest written instructions, and work 
should not be commenced until the instructions are 
accepted by the head of the workroom. 

7. All disputes relative to the amount of goods 
used should be referred to the manager, and on no 
account should a salesman be permitted to alter the 
workroom report on any order. 

8. On receipt of the finished work the salesman 
should fill out on workroom voucher his sales number, 
the amount charged the customer for the completed 
work as covered by the workroom report, the date and 
the number of his sales check. 

The head of the workroom shall, after having 
receipted for an order, be 
held responsible for its exe- 
cution within the time 
. stated, and should return 
with the completed order 
all surplus goods, requiring 
a receipt for same and 
depositing the receipt in 
the office. By having all 
receipts from department 
and workroom numbered 
with the serial numbers of 
the work-sheet to which 
the order belongs, it will be 
possible at any time to 
verify the quantities re- 
ported as having been con- 
sumed in the workroom, 
and a check can be kept on 
every order. 

There is, however, no 
plan which human ingenu- 
ity can devise which will 
not depend on the honesty 
and carefulness of those 
who operate it for its effec- 
tiveness, and there is 
every necessity for care- 
fulness and certainty in 
connection with workroom 
management. 

The work performed 
by outside men should be 



WORKROOM AUXILIARIES 



just as carefully recorded — a proper sheet should be 
made out for each order showing the nature of the 
work and the amount paid for it. The workman 
should record his time and the materials used, and 
the sheet should be returned to the office for filing. 

With a system such as we suggest the manager 
has but to compare these reports with his salary and 
expense list to ascertain the amount earned by the 
workroom staff. 

The equipment of the workroom should at all 
times be fully adequate to the demands upon it, and 
the very smallest of workrooms should have at least : 
A good sewing machine, capable of performing fine or 
coarse work ; a cutting table approximately 5 — o by 
12 — o; a work table 5 — by 9 — 0; a pressing table 
3 — by 6 — ; a draping board, a test pole, a steamer 
and a cupboard for finished work. 

As to the sewing machine, almost any reliable 
make of machine will do the necessary sewing for 
ordinary drapery work. There are, however, special 
machines for special kinds of work, such as window 
shades, awnings, bobbinet curtains, etc., which greatly 
facilitate their manufacture. Poor machines of any 
kind (human or mechanical) are false economy. 

The cutting table should have a level, smooth 
top, and should be so situated that the operator can 
walk all around it. If covered with white table oil- 
cloth the measuring lines placed upon it from time to 
time can be washed off, and the top is always smooth 
and free from slivers. 

The work table should have a good, clear, soft 
wood top, and should be permanently marked in feet, 
the first foot at one end 
being again divided and 
marked in inches. This 
is the table to which por- 
tieres are tacked in mak- 
ing, as illustrated in the 
chapter on portieres. 

The pressing table 
should be of a conven- 
ient height for pressing, 
and should be padded to 
about the thickness that 
two layers of an ordi- 
nary blanket would give it, and then covered with clean 
white unsized cotton. 

The drapery blackboard should be about 5 — o by 
15 — 0, or larger, if convenient, so placed that the top 
of it can be easily reached. The use of this board 
has been referred to in the preceding chapters, and 
the illustration, Figure 163, gives further explanation 
of its purpose. 

The test pole, which is also shown in Figure 164, 
is used to test the hang of portieres before and after 
cording. 

The opening can be set at any desired height, 




and the portieres can be thoroughly examined before 
leaving the workroom. 

The steamer shown in Figure 165 is used for 
steaming the nap of pile goods which have become 
crushed, the cross partitions A — A are tightly 
stretched pieces of heavy cotton which absorb the 
moisture, and the open top of the box is covered with 
several thicknesses of the same fabric. The steam 
enters the intake at X, and follows the direction of 
the arrows until it finally emerges through the top. 
The goods are drawn across the top of the box beneath 
the roller nap side up, and the brush roller is made 
to revolve so as to lay the nap in the proper direction 
while it is softened by the steam. The motion of both 
roller and goods should be steady and continuous 
from beginning to end, and should be slow or quick 
according to the amount of steam passing through the 
fabric. 

The quantity of steam should be regulated so 
that it will just soften the fabric without making it 
wet. The hair of the brush should be short, even, and 
fairly stiff. The brushes used in carpet sweepers when 
joined end to end make good steamer brushes, or the 
roller can be covered with mohair plush, so that the 
nap forms a brush. 

While it may not be always convenient to con- 
struct a steamer large enough to take the width of 
the goods with one operation, and as complete as the 
one herein described, the quality of the work per- 
formed by one of this kind will repay the effort of 
building it. 

Drapery work that is not worth doing well is not 

worth doing at all, and it 
is far better to turn out a 
perfect job at cost, or 
even at an occasional 
loss, than to turn out 
poor work that pays a 
big profit. The cus- 
tomer who receives first- 
class work will usually 
return and will be will- 
to pay you a fair 



in, 

price for your work, so 
that in the end you may 
be recouped ; but the customer who pays a big 
price for a poor and unsatisfactory article seldom re- 
turns to give you another chance. 

It would be a magnificent achievement to make 
a workroom pay thirty-three and one-third per cent, 
profit, but the chief value of a workroom lies not in 
its earning power from a per cent, standpoint, but 
rather in its power to hold and satisfy critical custom 
and in the educational suggestiveness finished work 
produces, and which accounts for a large amount of 
the yard goods which are sold without passing through 
the workroom. 



82 



m 



